Naeem Mohaiemen combines films, photography, and essays to research the many forms of utopia-dystopia (families, borders, architecture, and uprisings), beginning from Bangladesh’s two postcolonial markers (1947, 1971) and then radiating outward to transnational alliances and collisions. Despite underlining a historic tendency toward misrecognition of allies, the hope for a future international left, as an alternative to current polarities of race and religion, is a basis for the work. He is author of Midnight’s Third Child (Nokta, forthcoming) and Prisoners of Shothik Itihash (Kunsthalle Basel, 2014); editor of Chittagong Hill Tracts in the Blind Spot of Bangladesh Nationalism (Drishtipat, 2010); and co-editor with Eszter Szakacs of Solidarity Must be Defended (Tranzit, forthcoming) and with Lorenzo Fusi of System Error: War is a Force that Gives us Meaning (Sylvana, 2007). His work has been shown at the Venice, Lahore, Sharjah, Marrakech Biennials, Tate Britain, MoMA, and Documenta 14. Projects have been supported by Andy Warhol Foundation, Ford Foundation, Wenner Gren, Creative Time, Guggenheim Fellowship, and Creative Capital. Mohaiemen has a Ph.D. in anthropology from Columbia University, was a Senior Research Fellow at Lunder Institute of American Art, Colby College, and is currently associate professor of visual arts at Columbia University.
Naeem Mohaiemen worked in the Schelling studio.
Marian Nevins MacDowell funded construction of this studio the year that the organization was established and the first artists arrived for residency. It was called Bark Studio until 1933, when it was renamed in honor of Ernest Schelling, a composer, pianist, and orchestral leader who served as president of what was then called the Edward MacDowell…