Kupite kolekcionarsku sliku - In his Dutch flat, Peter underlined and drew exclamation marks on Abu Yusuf Khan’s post mortem (the body is cold) of the November 7th, 1975 soldier’s mutiny. The headlines read: ‘Zia embraced Taher and said “You have saved my life”’; ‘The Officers we....

Q: Da li je In his Dutch flat, Peter underlined and drew exclamation marks on Abu Yusuf Khan’s post mortem (the body is cold) of the November 7th, 1975 soldier’s mutiny. The headlines read: ‘Zia embraced Taher and said “You have saved my life”’; ‘The Officers we.... zaštićen autorskim pravima?

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In His Dutch Flat, Peter Underlined And Drew Exclamation Marks On Abu Yusuf Khan’s Post Mortem (the Body Is Cold) Of The November 7th, 1975 Soldier’s Mutiny. The Headlines Read: ‘zia Embraced Taher And Said “you Have Saved My Life”’; ‘the Officers We.... — Naeem Mohaiemen

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In his Dutch flat, Peter underlined and drew exclamation marks on Abu Yusuf Khan’s post mortem (the body is cold) of the November 7th, 1975 soldier’s mutiny. The headlines read: ‘Zia embraced Taher and said “You have saved my life”’; ‘The Officers we....

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Naeem MohaiemenBorn in London, UK, in 1969.He works in Dhaka, Bangladesh, and New York City, USA ..Through a practice that includes essays, film, and photography, Naeem Mohaiemen researches borders, wars, and belonging within Bangladesh’s two independence markers—1947 as East Pakistan, and 1971 as Bangladesh. These contested areas are his templates for a global history of postcolonial possibility and reversal. Within this context, his project The Young Man Was is a fragmentary history of the 1970s revolutionary left. Chapters in that project include the films United Red Army (2012), about the hijacking of Japan Airlines 472 by the Japanese Red Army in 1977, and that premiered at the 10th Sharjah Biennial; and Afsan’s Long Day (2014), involving anti-Maoist manhunts in 1974, that premiered at the Museum of Modern Art, New York. The latest chapter, Last Man in Dhaka Central (2015), premieres at the Biennale di Venezia. Last Man traces Peter Custers, a Dutch academic who left his PhD studies to document revolutionary left movements forming in Bangladesh after the country’s violent separation from Pakistan in 1971. In 1975, the nation was convulsed by two military coups and, finally, a leftist-inspired soldiers’ uprising. By December, this last mutiny was crushed and mass arrests of leftist activists began. Peter was accused of “antistate conspiracy” as leader of the Movement for Proletarian Unity—a group organizing landless peasants— and was arrested along with his comrades. After a year of campaigning for his release by the Dutch government, he was the only member released and deported. Last Man pairs two temporalities in reverse sequence. In a series of newsreels and leaked memos, the film starts at the end of the narrative, with Peter’s release. In a parallel story through Peter’s off-screen voice, memories unspool over books and magazines in his Dutch home, far from the Bangladesh of 1975 or today. A second channel plays the text of a revolutionary manifesto that Peter wrote before his arrest. As we listen to his words, interrupted occasionally by questions from the director, our own questions begin to congeal. What were the globalist possibilities that inspired many to look to the Third World as the site for a decisive socialist victory? What allows utopian hope, against the weight of history and experience? Was Peter like the American journalist John Reed, who wrote his first-hand account of the Bolshevik Revolution of 1917, in the last free moments before the so called Stalinist Thermidor? What does it mean to be a survivor and a witness—the last man standing on the eve of collapse, surveying the wreckage of collective dreams today?

Srodna umetnička dela

Biografija umetnika

A Cartography of Memory and Resistance

Naeem Mohaiemen’s artistic practice exists at the intersection of historical excavation and profound personal reflection. Born in London in 1969, his early life was shaped by the nuances of the diaspora, a formative experience that instilled a lifelong sensitivity to the themes of displacement, cultural encounter, and the shifting boundaries of identity. Moving between the landscapes of Libya, Bangladesh, and the United States, Mohaiemen has developed a visual language that does not merely observe history but actively interrogates it. His work serves as a vital bridge between the personal and the political, weaving together the fragmented threads of postcolonial narratives to reveal the enduring legacies of colonialism and revolution.

His academic journey further enriched this investigative approach. After attending the New Tripoli School in Libya and St. Joseph’s Jesuit School in Dhaka, he pursued higher education at Oberlin College, eventually earning a PhD in Anthropology from Columbia University in 2019. This scholarly foundation in anthropology allows him to approach his art with the rigor of a researcher, treating archives, newsreels, and personal testimonies as raw materials for a deeper exploration of how history is constructed, remembered, and often misrecognized.

The Cinematic Archive: Reclaiming Lost Narratives

Mohaiemen’s most striking contributions often manifest through the medium of film and installation, where he utilizes the moving image to breathe life into forgotten or suppressed histories. His cinematic endeavors are characterized by a meticulous attention to detail and an ability to find the human pulse within vast geopolitical shifts. Through projects such as The Young Man Was, he explores the fractured history of the 1970s revolutionary left, using film to trace the connections between global movements that were often obscured by the tides of state power.

His filmography includes several landmark works that have resonated on the international stage:

United Red Army (2011): A haunting exploration of the 1977 hijacking of Japan Airlines Flight 472, examining the radicalism and consequences of militant political action.
Afsan’s Long Day (2014): A piece that delves into the anti-Maoist manhunts in Bangladesh, premiered at the Museum of Modern Art, New York.
Last Man in Dhaka Central (2015): A poignant narrative tracing the life of Peter Custers, a Dutch academic caught in the turbulence of the 1975 Bangladeshi military coups.
Tripoli Cancelled (2017): A contemplative portrait of solitude and urban decay, which received significant acclaim at Documenta 14.

In these works, Mohaiemen does not simply present facts; he creates an immersive experience where the viewer must grapple with the weight of the past. By layering archival footage with personal narratives, he exposes the "accidental trojan horse" of revolutionary movements—how global solidarity can lead to both profound connection and tragic misrecognition.

Legacy and Global Significance

The significance of Naeem Mohaiemen’s work lies in his ability to transform the study of South Asian postcolonial markers—specifically the 1947 partition and the 1971 Bangladesh Liberation War—into a universal meditation on belonging and resistance. His art challenges the sanitized versions of history often presented by nation-states, instead offering a "fragmentary history" that honors the complexity of struggle. Through his participation in prestigious platforms like Documenta 14, the Venice Biennale, and the Tate Britain, he has brought the specificities of Bangladeshi history into a global dialogue.

Today, as an Associate Professor of Visual Arts at Columbia University, Mohaiemen continues to push the boundaries of contemporary art. His practice remains a testament to the power of the artist as a witness, using photography, essays, and installation to ensure that the voices of the displaced and the revolutionary are never truly lost to the shadows of time. His work stands as a monumental effort to reconstruct a global history of postcolonial possibility, reminding us that the act of remembering is, in itself, an act of resistance.

naeem mohaiemen

1969 - , Bangladesh

Kratke činjenice

Artistic Movement Or Style: Film, Photography, Installation
Artists Or Movements Influenced By This Artist: ['Documenta']
Artists Who Influenced This Artist:
- Turner Prize
- Andy Warhol Foundation
Full Name: Naeem Mohaiemen
Nationality: British Bangladeshi
Notable Artworks:
- Tripoli Cancelled
- Kazi in Nomansland
Place Of Birth: London, UK

In his Dutch flat, Peter underlined and drew exclamation marks on Abu Yusuf Khan’s post mortem (the body is cold) of the November 7th, 1975 soldier’s mutiny. The headlines read: ‘Zia embraced Taher and said “You have saved my life”’; ‘The Officers we....