Age, Biography and Wiki

Naeem Mohaiemen was born on 1969 in Bangladeshi, is a Filmmaker, Writer, Visual Artist. Discover Naeem Mohaiemen's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 51 years old?

Popular As N/A
Occupation Filmmaker, Writer, Visual Artist
Age 53 years old
Zodiac Sign N/A
Birthplace N/A
Nationality Bangladeshi

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Naeem Mohaiemen Height, Weight & Measurements

At 53 years old, Naeem Mohaiemen height not available right now. We will update Naeem Mohaiemen's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Naeem Mohaiemen Net Worth

His net worth has been growing significantly in 2021-2022. So, how much is Naeem Mohaiemen worth at the age of 53 years old? Naeem Mohaiemen’s income source is mostly from being a successful Filmmaker. He is from Bangladeshi. We have estimated Naeem Mohaiemen's net worth , money, salary, income, and assets.

Net Worth in 2022 $1 Million - $5 Million
Salary in 2022 Under Review
Net Worth in 2021 Pending
Salary in 2021 Under Review
House Not Available
Cars Not Available
Source of Income Filmmaker

Naeem Mohaiemen Social Network

Wikipedia Naeem Mohaiemen Wikipedia



Essays on diaspora include "Known unknowns of the class war" (Margins, Asian American Writers Workshop),"The skin I'm in: Afro-Bengali solidarity and possible futures" (Margins, Asian American Writers Workshop), "Beirut, Silver Porsche Illusion" (Men of the Global South, Zed Books), "Why Mahmud Can’t Be a Pilot" (Nobody Passes: Rejecting the rules of Gender and Conformity, Seal Press), and "No Exit" (Asian Superhero Comics, New Press).


Mohaiemen co-founded Visible Collective, a collective of New York-based artists and lawyers investigating post-9/11 security panic. Visible's work exhibited internationally, including the 2006 Whitney Biennial of American Art ("Wrong Gallery" room) and L'institut des cultures d'Islam in Paris.


Visible Collective: Disappeared in America (2002–2006)


Mohaiemen graduated from Oberlin College in 1993 with a BA in Economics and Concentration in History. He was a member of Oberlin College's Board of Trustees (1994–1996). He received an MA in Anthropology in 2015 and a Ph.D. in Anthropology in 2019 from Columbia University.


He was the primary critic of Dead Reckoning, a book by Sarmila Bose on the 1971 war of Bangladesh. His response was cited by the BBC and published in Economic & Political Weekly ("Waiting for a real reckoning on 1971"). Bose responded to his remarks in the same periodical, followed by a rebuttal from Mohaiemen.

Essays on Bangladesh history include"Muktijuddho: Polyphony of the Ocean", "Accelerated Media and the 1971 Genocide", "Musee Guimet as Proxy Fight", "Mujtaba Ali: Amphibian Man" (The Rest of Now, Rana Dasgupta ed.), "Mujib Coat" (Bidoun journal), and "Everybody wants to be Singapore" (Carlos Motta’s The Good Life). He wrote the chapter on religious and ethnic minorities in the Ain o Salish Kendro Annual Report for Bangladesh.


Chapters from Mohaiemen's project on the 1970s revolutionary left ("The Young Man Was") have exhibited at the Mahmoud Darwish Museum, Gyantapas Abdur Razzaq Foundation, Bangladesh Shilpakala Academy, Bengal Foundation Shilpalay, Chobi Mela, Documenta 14, Kiran Nadar Museum, Museum of Modern Art New York, British Museum, Tate Britain, New Museum (New York), Frieze Art Fair (London), MUAC Mexico City, the 56th Venice Biennial, and the Lahore, Sharjah, Marrakech, and Eva (Ireland) Biennials.


Naeem Mohaiemen (born 1969) uses film, installation, and essays to research South Asia's postcolonial markers (the Indo-Pakistani War of 1947–1948 and the Bangladesh Liberation War of 1971). His projects on the 1970s revolutionary left explores the role of misrecognition within global solidarity.