Naeem Mohaiemen

Naeem Mohaiemen, Two Meetings and a Funeral (film still), 2017. Courtesy the artist

Naeem Mohaiemen, Two Meetings and a Funeral (film still), 2017. Courtesy the artist

Naeem Mohaiemen (b. 1969, London, UK) works between Dhaka, Bangladesh and New York, USA. He combines films and essays to examine the collective memory of failed utopias, framed by Third World Internationalism and World Socialism. Although misrecognition of allies is a persistent theme, hope for a future alliance of the global left against silos of race and religion is the ideological basis for Mohaiemen's work. 

Liverpool Biennial will present Two Meetings and a Funeral (2017), a three-channel film exploring Cold War-era power struggles between the political coalitions of the Non-Aligned Movement (NAM) and the Organization of Islamic Cooperation (OIC). Gleaning architectural residues within buildings in New York, Algiers and Dhaka, the project navigates alliances of convenience made during Bangladesh’s fight for UN recognition, and parallel decolonisation struggles in Palestine-Israel, the Portuguese colonies and South Africa.

In New York, he was a member of South Asian Magazine for Action & Reflection (1995–99), 3rd i South Asian Film (2000–04), and Visible Collective (2002–07), and in Dhaka, of Drishtipat (2001–11) and Alal O Dulal (2011–16). Naeem also co-edited System Error: War is a Force That Gives Us Meaning (Papesse) and Chittagong Hill Tracts in the Blind Spot of Bangladesh Nationalism (Drishtipat).

Two Meetings and a Funeral was commissioned by documenta 14, co-commissioned by Sharjah Art Foundation and Ford Foundation (Just Films) and was supported by Arts Council England; Tensta Konsthall, Sweden; Bengal Foundation, Bangladesh; with additional support by Tate Modern, London, UK.


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