Mohaiemen_CV_Experimenter 01-2014

NAEEM MOHAIEMEN
+19174994118
[email protected]
PUBLICATIONS
Books
• Editor, Chittagong Hill Tracts in the Blind Spot of Bangladesh Nationalism. Dhaka: Manusher Jonno, 2010.
• Editor (w/ Lorenzo Fusi), System Error: War is a force that gives us meaning. Milan: Silvana, 2007.
Essays
• "We wish to inform you: A history of Bangladeshi Censorship, 1972-2012," Bangladesh's Changing Mediascape,
Shoesmith ed. University of Chicago Press, 2013.
• "While waiting for the fence," book review of Delwar Hussain's Boundaries Undermined (Routledge); Economic &
Political Weekly, India, November 02, 2013.
• "Searching for Callaloo," book review of Aisha Khan's Callaloo Nation (Duke); New Age (Bangladesh), June 2012.
• "The Skin I'm in," book review of Vivek Bald's Bengali Harlem, Margins, 2013.
• "Bangladeshi Photography: Social Reality's Truth Quest" (Bengali), Kamra (Bangladesh), No. 2, January 2013.
• "Real reckoning on 1971," Partition as Productive Space, Iftikhar Dadi ed. Cornell: Johnson Museum, 2012.
• "Kazi in Nomansland," Seminar (India), Ananya Vajpeyi & Asim Rafiqui ed., 2012.
• "Flying Blind: Waiting for a real reckoning on 1971," Economic & Political Weekly, India, Vol 46 # 36, 2011.
• "Asterix and the Big Fight: Musee Guimet as Proxy Fight," Playing by Rules, Apex Art, Steven Rand ed., 2010.
• "Fear of a Muslim Planet: Islamic Roots of Hip Hop," Sound Unbound, DJ Spooky ed., MIT Press, 2008.
• "Accelerated Media & 1971 Genocide," Economic & Political Weekly, India, Vol 43 # 04, 01/26/2008.
• "Hyphenated identities and security panic," Home Works III: A Forum on Cultural Practices. Beirut, 2008.
• "Beirut: Silver Porsche Illusion," Men of the Global South, Adam Jones ed., Zed Books, 2006.
• "Why Mahmud can't be a pilot," Rejecting the Rules of Gender and Conformity, Sycamore ed., Seal Press, 2006.
• "Guerrillas In The Mist: Maoist revolt in Bangladesh," Sarai Reader, No. 06: Turbulence, Delhi: CSDS. 2006.
• "Devil and Deep Blue: Shipbreakers of Bangladesh" (w/ Robert Bailey), New York: Asia Society, 2006.
Visual Art Essays
• "Bengal Fire," Paesaggio (the "Octopus" issue), Blauer Hause ed. Venice, 2013.
• "Magazines in the forest," Art Papers, November 2013.
• "When an interpreter could not be found," The Sun Never Sets: South Asian Migrants in an Age of U.S. Global
Power, New York: NYU, 2012.
• "Live True Life or Die Trying," Visual Culture Reader (3rd. ed.), Nicholas Mirzoeff ed. New York: Routledge, 2012.
• "Our revolutionary party leader," Cybermohallah Ensemble, Shveta Sarda ed. Berlin: Sternberg, 2012.
• "Diagram," Des Formes De Vie, Franck Leibovici. Paris: Laboratoires d’Aubervilliers, 2012
• "Where Next," With reference to Hans Haacke, Hans Dickel & Oliver Schwartz ed. Koln: Verlag, 2011.
• "Really Steven?," Broken English, Julieta Aranda & Carlos Motta ed. New York: Performa, 2011.
• "Kazi in Nomansland," Granta: The Pakistan Issue, John Freeman ed., 2010.
• "My mobile weighs a ton," Databrowser: art & culture in age of security, Wolfgang Sützl & Geoff Cox ed., 2009.
• "Pulp: a fiction," Time Bank, Anton Vidokle & Julieta Aranda ed., Frieze Art Fair, 2009.
• "No Exit" (w/ Glen Urieta), Secret Identities: Asian Superhero Comics, Jeff Yang ed., New Press, 2009.
• "Take me off your database," Rethinking Marxism, Vol 19, Number 2, 2007.
• "Le Saigon Quiz," surveillance project (w/ Michikazu Matsune), Journal BOL, Korea. 2008
• "J for Jotil," Abecedarium for our times, Radhika Subramaniam ed., Apex Art, 2008.
Visual Art Reviews
• "Firoz wants to fight Tyson," Firoz Mahmud artist book, NinKi: Urgency of Proximate Drawing, 2012.
• "Road movie as rage tonic," film review of 'Udhao' (Amit Ashraf), Star Magazine (Bangladesh), 06/22/2012.
• "Women on the verge," film review of 'Meherjaan', Daily Star (Bangladesh), 01/23/2011.
• "What I miss most is silence," Fouad ElKoury solo, Third Line, Dubai, 2009.
• "Adman blues as artist liberation," Indian Highway, curated by Hans-Ulrich Obrist, Serpentine, UK, 2008.
• "Nothing's a blank canvas, anyhow," Runa Islam solo, Modena, 2008.
• "Barbarians at the gate," Agnieszka Kalinowska solo, Ujazdowski, Warsaw, 2008.
• "These guys are artists and who gives a damn," Jamini journal, Dhaka, 2007.
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NAEEM MOHAIEMEN
+19174994118
[email protected]
Translation (Bengali – English)
• "Mujtaba Ali: Amphibian Man," Rest Of Now, Rana Dasgupta ed., Italy: Manifesta, 2008.
• "What do you have on the menu that's totally tasteless," Dhaka: Daily Star, 2007.
• "Syed Mujtaba Ali: The enigma of transit," The book of Bangladeshi fiction, Khademul Islam ed., 2006.
• Allen Ginsberg, Bhorer Kagoj. 1997; Farhad Mazhar, Himal, 1998; Kazi Nazrul Islam, Sharjah Art, 2011.
Short Articles
• "History is hard work, but are we willing?," Forum Magazine (Bangladesh), March 2013.
• "Stranded on the Borders of two Bengals," New York Times, India Ink. 11/15/2012.
• "The longing for a real," Occupy, B3 Verlag, Faust Kultur Edition, Frankfurt. 2012.
• "I can’t find Dhaka," Staedelschule series Ed 1, Nikolaus Hirsch & Markus Miessen ed., Sternberg, 2012.
• "Prisoners of shotik itihash (correct history)," The Hindu, India. 2011.
• "Beyond Liberty Plaza," under pen name Khujeci Tomai, The New Everyday blog, Nicholas Mirzoeff ed., 2011.
• "Strongman Undone: Bangladesh returns to Democracy," Art Asia Pacific, New York, 2009.
• "At the coed dance, dilemma of artists as curators," Art Lies: Death of the Curator, 2008.
• "Everybody wants to be Singapore," La Buena Vida, Carlos Motta ed., Art in General, 2008.
• "Mujib Coat: Assassination and Residue," Bidoun, Summer 2008.
• "It's Altaf Tailor: Muslim sexuality and partition riots [in Hey Ram]," Bidoun, 2006.
• Op-eds on Militarization, Islamization, Minority rights; Daily Star (Bangladesh).1996-2008.
• "Will Pakistan break again?" (Part 1-5, in Bengali), Bhorer Kagoj (Bangladesh), 1994.
• Numerous op-eds on Militarization, Islamization, Minority rights. Daily Star (Bangladesh).1996-2008.
Widely cited op-eds are "To the polls, unless you name be Das, Tripura, Roy," "Tattered Blood Green flag:
Secularism in crisis," "The truth, twisting in the wind," "I'm sorry, Choles Ritchil," "Wounded nation, still the
dreamer," and "The Generals in their Labyrinth."
Interviews
• With Ursula Biemann, Geobodies, 2012.
• Rasha Salti, Naeem Mohaiemen, Rania Stephan, Maha Maamoun, Manifesta Journal, #14, 2012.
• "Collectives in Post-2001 New York," Asian American Literary Review, Vol 2, Issue 1.5, Fall 2011.
• "Six Shooters & Nationalist Stamps," Arab Studies Journal, Spring 2010.
• Collectives in Atomized Time: art & activism (w/ Doug Ashford). Barcelona: Idensitat, 2009.
CITED IN
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Art & Politics Now, Anthony Downey ed., Thames & Hudson, 2014
Dominika Bennacer, "Performance of witness in Islamic orthopraxy," Performance Research, September 2008.
Susette Min, "Tonal Disturbances," Social Text, Duke University Press, Vol 26, No. 1, Spring 2008.
Jasbir Puar, Terrorist Assemblages: Homonationalism in Queer Times, Duke University Press. 2007.
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NAEEM MOHAIEMEN
+19174994118
[email protected]
AWARDS
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Lewis Henry Morgan Scholar (via Columbia nomination). Rochester University. 2013.
Creative Time. For visual art project on 1970s ultra-left, "The Young Man Was". 2013.
IDFA Bertha Fund (Jan Vrijman Foundation, Amsterdam). For film, "United Red Army". 2012.
Puffin Foundation. For "The Young Man Was". 2011.
Sharjah Art Foundation. For film, "United Red Army". 2011.
Arts Network Asia. For "The Young Man Was". 2010
Creative Capital (Andy Warhol Foundation). For "The Young Man Was". 2009-2012
Rhizome.org. For "The Young Man Was". 2009
Honorable Mention, Villem Flusser Theory Award. 2008. For essay "Islamic Roots of Hip-Hop".
Franklin Furnace. For "The Young Man Was". 2007
Watson Fellowship. For oral history of 1971 Bangladesh war. 1993.
CURATION
• System Error: war is a force that gives us meaning: show with 40 international artists. Co-curated with Lorenzo
Fusi. Palazzo Papesse, Siena, Italy. 2006
• Tareque Masud: Journey Interrupted: first North American retrospective for leader of Bangladesh parallel cinema
movement. Co-curated with Sukhdev Sandhu, Catherine Masud. Tisch School of Arts, New York. 2013
MUSEUM COLLECTIONS
• In the permanent collection of British Museum, Tate Modern, and private collections in Bangladesh (Samdani
Foundation), India (Khanna; Menezes; Shah), UK (Tarawneh; Setarow), US (Mathur; Sharma), and United Arab
Emirates (Vartanian).
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NAEEM MOHAIEMEN
+19174994118
[email protected]
TALKS, PAPERS, TEACHING
ACADEMIC TALKS
• Chair, "Prisoners of Correct History" panel, Bangladesh pre-conference. Wisconsin-Madison. 2013
• Panelist, "Shahbag and the Open veins of 1971" panel, South Asian conference. Wisconsin-Madison. 2013
• Paper on ethnography of Japanese Red Army, "Illiberal Politics" panel, AAA, Chicago. 2013
• Paper on "Prisoners of correct history," NYU & Cornell University. 2012
• Beyond Security: Pakistan & Bangladesh, South Asia Institute, Columbia University. 2011
• Nationality in Question, Third Global South Asia Conference, NYU. 2011
ARTIST TALKS
• Expo1 (The Future is…), PS1 MOMA, New York. 2013
• Manifesto for Slow Time: project w/ Blaine Cook (Twitter lead programmer), Rhizome, New Museum. 2012
• Broken English: with Julieta Aranda & Carlos Motta, Performa 11: Performance Art Biennial, New York. 2011
• South Asian Literary & Theatre Arts Festival, Smithsonian Institute, Washington DC. 2010
• BAF Art School, XVA Gallery, Dubai. 2009
• Across Histories (anti-military organizing in Bangladesh), Arte East & Cabinet Magazine, Brooklyn. 2009
• Chris Marker & Grinning Cat, APA Studies, New York University. 2009
• Collaboration+Context, Art In General, New York. 2008
• Visualizing Secrecy, Stedelijk Museum, Amsterdam. 2007
• Live Images 2, Workman Theatre, Toronto. 2007
• Interact or Die, V2 Center for Unstable Media, Rotterdam. 2007
• Continental Drift 2, with Brian Holmes, 16 Beaver Group, New York. 2006
• Faith & Identity, Whitworth Gallery, Manchester. 2006
• In Eye Of Media Storm, Here Arts Center, New York, 2006
• Politics of Image, Staedelschule, Frankfurt. 2005
• Schloss Solitude, Stuttgart. 2005
• Who’s Afraid of Promito Bangla, Kozmo Cafe, Dhaka. 2008
• Visible Collective, activist art, and hyphenated Muslim identities after 9/11.
- Keynote speech: Art & Anthropology forum; James Madison University, Harrisonburg. 2006
- Performance Studies International, with Coco Fusco, University of London (QM). 2006
- Hyphenated Identities, Mess Hall, Chicago. 2006
- Security Conversations, Location One Gallery, New York. 2006
- Artists on Art, Rubin Museum, New York. 2006
- Home Works III, with Walid Raad, Ashkal Alwan, Beirut. 2005
- Media Activism, Helsinki Process, Finlandia Hall, Helsinki. 2005
- Loyalty Tests, Bengal Gallery, Dhaka. 2005. Sarai Center, CSDS, Delhi. 2005
- Rewire Net, Pixelache, Kiasma Museum, Helsinki. 2004
ARTIST TEACHING LECTURES
• 2-week module on Occupy movement, University of Fine Arts, Tromso. 2012
• Politics of Performance; class of Adjunct Dominika Laster, Yale University. 2012
• AMT Artist Lecture; Parsons the New School for Design, New York. 2012
• Artist Tutor; semester-long supervision of MFA candidate Mark Read, Vermont College of Fine Arts. 2012
• Guest Lecture; Social Protest Literature, class of Jennifer Hayashida, Hunter College, New York. 2012
• Substitute Teacher; Photography & Politics, class of Carlos Motta, Parsons School of Arts. 2012
• Visiting Guest Crit; Vermont College of Fine Arts. 2011
• Asian American film forms; class of Professor Sukhdev Sandhu, New York University. 2010
• Documentary film forms; class of Brian Palmer, School of Visual Arts. 2010, 2011.
• Anthropology & the City; class of Professor Uzma Rizvi, Pratt University, New York. 2008
• Political art & hypermarkets, Charukala, Dhaka University. 2008
• Artists & Urban Fracture; Mongolbarer Shobha: architecture students, Dhaka. 2008
• Photography workshop, students of English as Second Language; Tenement Museum, New York. 2006
• Guest lecture, Ithaca College. 2006
• Guest lecture, class of Prof. Doug Ashford, Prof. Walid Raad, Cooper Union. 2005, 2006.
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NAEEM MOHAIEMEN
+19174994118
[email protected]
ART EXHIBITIONS
THE YOUNG MAN WAS: a history of the 1970s ultra-left. 2006-2012.
• United Red Army (1977 Japan Airlines hijack); film, 70 mins.
- Kiran Nadar Museum, Delhi (Noida). 2013
- Dhaka Art Center. Bengal Gallery. BRAC University. Radius Center. Dhaka University. Dhaka. 2012
- Chittagong Film Center. Chittagong. 2012
- IDFA (#2 ranked global documentary film festival), Amsterdam. 2012
- Hot Docs (#3 ranked global documentary film festival), Toronto. 2012
- Images Festival (two-person installation w/ Silvia Kolbowski), Toronto. 2012
- "A few chapters," Experimenter gallery, Kolkata. 2011
- "Out of the Archive" (symposia), curated by Nora Razian, Tate Modern, London. 2011
- "Uncanny Familiar: Images of Terror," curated by Felix Hoffman, c/o Berlin, Berlin. 2011
- "Ucaklar, Trenler, Otomobiler ve Tekneler," SALT, Istanbul. 2011
- Sharjah Biennial, curated by Rasha Salti & Haig Aivazian, United Arab Emirates. 2011
- Momentum Nordic Biennial, Norway, curated by Aura Seikkula et al. 2011
- 98 Weeks, curated by Mirene Astoire, Lebanon. 2011
• War of 666 vs. Sixty Million (1977 execution of Hans Martinn-Schleyer); video grid
- Curated by Aura Seikkula, Finnish Museum of Photography. 2008
• I Have Killed Pharaoh (1975 assassination of Mujib); photographs, text, resin sculpture
- Dhaka Art Summit, Shilpakala Academy, Dhaka. 2012.
- Frieze Art Fair, London. 2010.
• Red Ant Mother**** Meet Starfish Nation (1975 assassination of Mujib); photography, text
- "Art Against Terrorism," curated by Amit Mukhopadhyay, ECA gallery, Kolkata. 2009
- "Contemporary Bangladeshi Art," Asiatic Society, Dhaka. 2008
- "Transmediale: New Media Festival," curated by S. Kovats, Haus der Kulturen der Welt, Berlin. 2008
• The Young Man Was (1974 execution of ultra-left leader); live performance, 40 mins
- "Save The World," curated by Eva De Groote & Tom Bonte, Vooruit, Ghent. 2009
- "New Silent" series (Rhizome.org), curated by Lauren Cornell, New Museum, New York. 2009
- "Dictionary of War," curated by Florian Malzacher, Muffathalle, Munich. 2006
• Afsan's Long Day (1974 execution of ultra-left leader); video, 4 mins.
- "Return of Repression," curated by Razvan Ion, Pavillion, Budapest. 2010
- "Malleable Memory," curated by Nitin Mukul, Aicon Gallery, New York. 2010
• Der Weisse Engel (1971 war crimes); video, 8 mins.
- "Step across this line," Asia House, London. 2011
- "Global House Video," curated by Stephanie Sykes, Gwangju Kunsthalle, Gwangju. 2011
• We the living we the dead (1971 war crimes); text, photos, site-specific installation
- "Latitude Longitude," curated by Shehzad Chowdhury, Beauty Boarding, Old Dhaka. 2011
VISIBLE COLLECTIVE: collective project on security panic & muslim "racial" profiling
• Disappeared in America, disappearedinamerica.org
- "Islam & the City," curated by Véronique Rieffel, Institut des Cultures d'Islam, Paris. 2011
- "Tools For Revolution," curated by Giacomo Bazzani, Villa Romana, Florence. 2009
- "Dataesthetics," curated by WHW & Stephen Wright, Gallery Nova, Zagreb. 2006
- "How Does it Feel to be a Problem," curated by Rick Lowe, Project Row House, Houston. 2006
- "Peer Pleasure 2," curated by Berin Golonu, Yerba Buena, San Francisco. 2006
- Lounge, curated by Walid Raad, Foundation for Art & Creative Technology, Liverpool. 2005
- "A Knock At The Door," curated by Seth Cameron, LMCC & Cooper Union School of Art. 2005
- "Fatal Love: South Asian American Art Now," Queens Museum of Art, New York. 2004
- Rwanda Mini-Film Festival, Rwanda. 2004
- "Nightcomers," curated by Pelin Uran, satellite project in Istanbul Biennial. 2007
- Whitney Biennial, as part of "Wrong Gallery" (Maurizio Cattelan, Massimiliano Gioni, Ali Subotnick). 2006
- "Asian Contemporary Video," curated by Johan Pijnappel, Little Theatre, Mumbai. 2006
- "Above Ground" (w/ Donna Golden), Tenement Museum, New York. 2006
- "Hopeless and Otherwise," curated by Valerie Imus, SOEX, San Francisco. 2008
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NAEEM MOHAIEMEN
+19174994118
[email protected]
NATIONAL SECURITY PANIC
• Live True Life or Die Trying ("Leftists" vs. "Islamists"); photography, video, text
- "Between Utopia and Dystopia," curated by Gridthiya Gaewong, MUAC, Mexico City. 2011
- "Angel of History," curated by Steve Dietz, Laboral Centro Arte y Creacion Industrial, Gijon. 2009
- "Im/Possible Communities," curated by Anke Hoffman & Yvonne Volkart, Shedhalle, Zurich. 2009
- "Freedom is Notional," curated by Prateek & Priyanka Raja, Experimenter, Kolkata. 2009
- "Live True Life or Die Trying," Cue Art Foundation, New York. 2009
• Otondro Prohori, Guarding Who (military surveillance); photo box, slides, negatives
- "Trust," ISEA Electronic Arts, curated by Andreas Broeckmann, Dortmunder, Germany. 2010
- "Chobi Mela V," National Shilpakala Academy, Dhaka. 2009
• National Security Panic series; performance, video, drawings
- One Bad Google Ruins Your Day, performance, curated by Stephen Kovats, Transmediale, Berlin. 2008
- Grounded: Dawn to Dusk, surveillance video. Online. 2008
• My Mobile Weighs a Ton; surveillance photo, toy soldiers, installation
- "Sedition," curated by Dread Scott, White Box gallery, New York. 2009
- "My Mobile Weighs a Ton," solo show, Gallery Chitrak, Dhaka. 2008
PARTITION HISTORIES
• Rankin Street, 1953; sandstone sculpture, vintage photos taken by my father
- India Art Fair, Delhi.
- Devi Art Foundation, Delhi. 2013
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Kazi in Nomansland; stamp sculpture, archival photos; part of "Lines of Control," curated by Hammad Nassar
Nasher Museum of Art, Durham. 2013
Herbert Johnson Museum, Ithaca. 2012
British Council, London. 2011. Green Cardamom, London. 2009. Cartwright Hall, Bradford, 2009.
VM Gallery, Karachi. 2008. The Third Line Gallery, Dubai. 2008
Louis Kahn/Penn Station Kills Me; architectural installation, animation
"Backroom," curated by Kate Fowle, Celda Contemporanea, Mexico City; Kadist, Paris. 2007
"The Building Show" (w/ Gensler+Gutierrez+Blagojevic), Exit Art, New York. 2007
• Muslims or Heretics: My Camera can Lie; documentary, 50 mins.
- EU Human Rights Commission, British House of Lords, hosted by Lord Eric Avebury. 2004
- Goethe Institut, Russian Center, British Council, BRAC, Bakshibazaar Mosque, etc; Dhaka. 2004
• Dear Runa, I Found your Props; photography. "Pawnshop," e-Flux, New York. 2007
• SMS Iran: for Gilles Peress; video, essay (w/ MW Blackburn). Art Dubai online, United Arab Emirates. 2009
• Rumble in Mumbai; 60 mins. Co-produced documentary on World Social Forum for Free Speech TV
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NAEEM MOHAIEMEN
+19174994118
[email protected]
REVIEWS
EXCERPTS
[United Red Army]
"But anyone acquainted with Mohaiemen or his work knows he is a keen but somewhat perverse polymath,
whose possible subjects of analysis run the gamut from newsworthy events of historical record to the sorts of
minor cultural artifacts that constitute what literary theorist Lauren Berlant has dubbed the "silly archive."
– Murtaza Vali, Modern Painters, 02/2012
"Such considered construction reminds more of a Dadaist collage than a documentary."
– Matt Millikan, "Are Documentaries Art?", Arts Hub Australia
"It not only epitomized one of the exhibition’s crucial and entirely unscripted themes — how to make
engagements with a revolutionary past meaningful in the sudden eruption of a revolutionary present — it also
doubled back on some of the biennial’s grand and problematic claims, proposing art as a subversive act, for
example, by questioning art’s potential compared to that of political action or sustained activism."
– Kaelen Wilson-Goldie, Bidoun, Summer 2011
"It's a poem of a piece, beautifully executed, difficult to describe, not least because, as Naeem says himself, to do
so and to sketch the mountain of which the film is a very small 'tip', takes longer than the film and inevitably
undoes it as a work with real potency. The piece revisits a time when hijackers said things like "we hurt bourgeois
people" or "it is duty of revolutionary soldiers" but the approach is pointed in its sophistication."
– Guy Mannes-Abbott, Sharjah Art Foundation, 03/2011
"This precarious situation, where both men want to win but need to trust the other without knowing what is going
on at the other side of the line, is elevated in tribute of something universal. It broadly refers to all the personal
and political negotiation[s] that take place in our lives."
– Maaike Gouwenberg, Mister Motley, July 2011
"With this film, Mohaiemen creates an opportunity to ponder what drives radical insurrection and life threatening
devotion to extremist movements that promise a more ideal world."
– Isabella Ellaleh Hughes, Art Asia Pacific, 06/2011
[I have killed Pharaoh I am not afraid to die]
"Most probably a political work, or maybe moral"– Le Monde (blog), 10/26/2010
[Live True Life or Die Trying]
"The admission sets the tone for his wry photo-and-text works, which gently question the efficacy of activism-and of his own art vis-a-vis political change." – Brian Boucher, Art in America, 01/ 2010
"They look like decent men, in the full flavor of youth, wanting something that the world has not given them thus
far, but not yet disillusioned fully with the capacity of human society." – Vijay Prashad, Take on Art, Issue 1, 2009
[Fear of a Muslim Planet]
"Some of the very best stuff in the back has hardly anything to do with sampling at all, including Mohaiemen's
searing treatise on the interrelationship between hip-hop and Islam." – Dave Itzkoff, New York Times, 06/2008
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NAEEM MOHAIEMEN
+19174994118
[email protected]
SOLO REVIEWS
• United Red Army
- Murtaza Vali, "Introducing: Naeem Mohaiemen," Modern Painters, February 2012.
- Shumon Bashar interview, Tank, Fall 2011.
• I have killed Pharaoh I am not afraid to die
- Frames interview, Art Newspaper, November 2010.
• Chittagong Hill Tracts in the Blind Spot of Bangladesh Nationalism
- Samya Kullab, "Championing Pahari Rights," Star Weekend Magazine (Bangladesh), 2010.
• Live True Life or Die Trying
- Brian Boucher, Art In America, 2010.
- Vijay Prashad, "Pictures of Clamor," Take On Art (India), 2010.
• My Mobile Weighs a Ton
- Sanam Amin, "Political activism is not Separate," New Age (Bangladesh), 2009.
- Zubairi, "Aesthetic Perfection Makes Me Uneasy," Shilparup (Bangladesh), 2009.
- Nader Rahman, "Blurred Pictures & Sharp Words," Daily Star (Bangladesh), 8/5/2008.
• Visible Collective: Disappeared in America
- Kaelen Wilson-Goldie, "What Does Citizenship Mean?," Daily Star (Lebanon), 2005.
- Grace Hsiang, "Discovered at UCI," Jaded, Fall 2005.
- Jasmine Mir, "Reappearing Act," Zink, Summer 2005.
• Muslims or Heretics: My camera can lie
- Zafar Sobhan, "What Kind of Islam Is This?," Daily Star (Bangladesh), 6/20/04.
GROUP REVIEWS
• United Red Army
- Oliver Basciano, "Future Greats 2012" (25 artists to watch), Art Review, 03/2012.
- Murtaza Vali, "Top Picks of 2011," Art Forum (online), December 2011.
- Kaelen Wilson-Goldie, "Sharjah Biennial 10" Bidoun, #25, Summer 2011.
- Guy Mannes-Abbott, "On a day of words," Sharjah Foundation, 03/18/11.
- Massimiliano Gioni, "Letter from Sharjah," Domus, April 2011.
- Maaike Gouwenberg, "Momentum Biënnale," Mister Motley (Netherlands), July 2011.
- Isabella Hughes, "Sharjah Biennial 10," Art Asia Pacific, May/June 2011.
- November Paynter, "Sharjah Biennial," Art Agenda, 03/24/11.
- Daniel Kunitz, "Intimate side of rebellion," Art Info, 04/05/11.
• War of 666 vs. sixty million
- Joshua Simon, "Killer Shot," Programma (Israel), 09/09.
• Live True Life or Die Trying
- Premankur Biswas, "Inventing Freedom," Indian Express, 11/27/09.
• Kazi in Nomansland
- Eliza Williams, "Lines of Control," Frieze, 6/03/09.
- Beena Sarwar, "Post-colonial Partitions," IPS (Pakistan), 4/23/09.
• Fear of a Black Planet
- David Itzkoff, "Music Chronicle," New York Times, 6/22/08.
• Visible Collective: Disappeared in America
- Ben Davis, "Ranciere For Dummies," ArtNet, 8/17/06.
- Katie Kurtz, "Business as Unusual," SF Bay Guardian, 4/06.
- Holland Cotter, "The New Bridge & Tunnel Crowd," New York Times, 3/13/05.
- Stephen Wright, "Quand l’art devient design," L’art Meme ,#30.
- Amy Finnerty, "South Asia as Artistic Foreground," Wall Street Journal, 3/22/05.
- Nancy Princenthal, "Taking Liberties," Art In America, 12/05.
- Miriam Souccar, "World Events Drive Islamic Art Surge," Crain’s, 4/4/05.
- Kaelen Wilson-Goldie, "Tracking rendered bodies," Daily Star (Lebanon), 11/25/2005.
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NAEEM MOHAIEMEN
+19174994118
[email protected]
EDUCATION
OBERLIN COLLEGE
• BA. Major in Economics (Honors), Double Minor in History & Political Science. 1993
Thomas J. Watson Foundation Fellow (50 fellows chosen from national pool of graduating college seniors)
Mellon Foundation research grant (twice).
Alumni research grant.
COLUMBIA UNIVERSITY
• Ph.D. student in Sociocultural Anthropology, with Advanced Certificate in Comparative Literature.
WEBSITES
http://shobak.org
http://alalodulal.org/
http://columbia.academia.edu/NaeemMohaiemen
Panel from Stan Mack's "You can't jog
in a Punjabi" comic strip in The Village
Voice (New York, 1995), based on a
conversation with Naeem Mohaiemen.
Mack had drawn a cartoon where he
identified a Pakistani migrant as
Bangladeshi. I wrote to him, pointing out
the irony of this error given the
complicated history of these former
"brother nations." He responded by
meeting me, and then drawing a new
comic based on our conversation.
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