During Miami Art Week (December 2-8, 2019)

Running from December 2 through 8, 2019, the Faena Festival: The Last Supper is an exploration of spirituality and food, abundance and sacrifice, indulgence and abstinence, and archetypal symbolism and contemporary aesthetics.

The Last Supper will include: new commissions by Sophia Al-Maria, Gabriel Chaile, Myrlande Constant, Emeka Ogboh, Osías Yanov and Jamilah Sabur; installations by Camille Henrot, Zhang Huan, and The Propeller Group; an LED billboard boat on the waterways of Miami, which will serve as a platform for mobile video installations by Jillian Mayer and Ana Mendieta; a Cinema Series with nightly screenings by Yael Bartana, Christian Jankowski, Jumana Manna, Pedro Neves Marques, Grethell Rasúa, and Martha Rosler; and a Supper Series, featuring culinary activations and shared meals by Jim Denevan, Lunafridge, and Francis Mallmann and Paul Qui, among others. All programs will be free and open to the public…”



Not too long ago, the fall of the Wall was one of the most salient symbols of twentieth-century utopianism. More recently, however, the surge in extreme nationalism and polarising populism have given way to more divisive ideologies. Walking Through Walls is, therefore, a timely response to the current moment whereby the Berlin Wall is extended beyond its German particularity, becoming instead an entry point into critical reflection on the impact of having to live with divisions, both real and metaphorical.

The exhibition brings together 28 international artists and covers a wide variety of media including painting, sculpture, photography, film, sound installation, site-specific interventions and performance…”



Ámà: The Gathering Place

Fri, 08/02/2019 to Sun, 12/01/2019

Ámà: The Gathering Place is an immersive site-specific installation integrating sound, textiles, and sculpture by Emeka Ogboh (Nigerian, b. 1977). It is the CMA’s first commissioned artwork for the Ames Family Atrium and part of an ongoing series of large-scale contemporary installations presented in that space. The work’s point of departure is the social role of the atrium within the museum: a soaring, light-filled space at the center of the building used by visitors as an area for communing and lively exchange. Ogboh compares it to the ámà—or village square—the physical and cultural center of Igbo life in southeast Nigeria. “Both sites,” he explains, “are contact zones, spaces of gathering and ritual activities in their respective settings.”



Fallen empires and refound desires

July 14th – September 15th 2019

The Exhibition infuses the publicly accessible terrain of ASIAT with in-situ commissioned works. With a strong focus on cross-disciplinary practices, hovering between artworks, collaborative projects, stage design, scenography and architecture. The Exhibition runs from 14.07 until 15.09, and is reconfigured for its final destination, the Festival.

Our generation is getting ready, preparing itself, getting armed for the coming fall. Of the ecosystem, of capitalism, of an illusionary democracy, of humanity, of ethics?



Multiple Transmissions: Art in the Afropolitan Age

25.05 – 18.08.2019

The exhibition Multiple Transmissions: Art in the Afropolitan Age, takes as its starting point the group of African artists who completed residences at WIELS between 2015 and 2019. Today an integral component of the art world landscape, residencies put artists in motion around the globe, while simultaneously immersing them in one place for a definite period of time. Artists, and African artists in particular, have become successive locals of multiple places and cities: they have become “Afropolitan” artists. Mainly developed by the thinker Achille Mbembe, the concept refers to the transnational cultures and aesthetic of 21st century African-identified urbanites. Both on and off the continent, these artists’ mental and physical itinerancies have made their mental geographies radically plural. Created between Kinshasa, Lubumbashi, Johannesburg and Brussels, the residents’ productions are presented alongside a range of other art practices enmeshed in these global flows…




30.11.2018 – 17.03.2019

The exhibition No Looking Back, Okay? stems from the belief that we do not perceive the past as a concluded story, be it in the form of either a colourful history, lived memories, cultural heritage, or political symbols, but as a field of possible new experiences, which requires from us a contribution of creative and critical responsibility….



Solo Exhibition of Emeka Ogboh curated by Ugochukwu-Smooth C. Nzewi

September 13th to November 24th, 2018

Galerie Imane Farès is proud to present Emeka Ogboh’s first solo-exhibition in Paris, curated by the Nigerian-born curator Ugochukwu-Smooth Nzewi. Ogboh who works in a variety of media with sound as his principal medium, is one of the most innovative conceptual artists practicing today. The exhibition which is titled No Condition is Permanent, a popular Nigerian phrase that reflects the shifting nature of human condition, assembles old and new works by the artist inspired by Lagos. Nigeria’s economic nerve center and cultural hub; Lagos is a bustling megacity renowned for its metropolitan energy and commerce-driven modernity. No Condition is Permanent also affirms this indefatigable spirit of Lagos, a city with a human population of over twenty million…



Columbia Brings Scholars and Artists Together at New Paris Institute

April 25, 2018

Columbia’s Institute for Ideas and Imagination has announced its first cohort of fellows, a group of 16 preeminent scholars, writers, and artists from around the world who are being brought together for year-long residencies at Reid Hall in Paris. Reid Hall is the home of Columbia Global Centers | Paris. The fellows will begin their residencies in September 2018.



Tate Modern opens immersive installations by Emeka Ogboh and Amar Kanwar in the Tanks

December 18, 2017 – February 4 2018

Tate Modern opened two major works in the Tanks today. Emeka Ogboh’s immersive, multichannel sound installation, The Way Earthly Things Are Going 2017, fills the subterranean East Tank in the Blavatnik Building. This installation is on display for the first time in the UK following its debut at documenta 14 in Athens. In the South Tank, The Lightning Testimonies 2007, a powerful eight-channel, digital video installation by Indian artist Amar Kanwar is being exhibited. Both works will be on display until 4 February 2018.



The Hugo Boss Prize


The Hugo Boss Prize honors outstanding achievement in contemporary art, celebrating the work of remarkable artists whose practices are among the most innovative and influential of our time. The biennial prize, established in 1996, sets no restrictions on age, gender, nationality, or medium. Juried by an international panel of distinguished museum directors, curators, and critics, it is administered by the Solomon R. Guggenheim Foundation and carries an award of $100,000. Since its inception in 1996, the Hugo Boss Prize has been awarded to Matthew Barney (1996), Douglas Gordon (1998), Marjetica Potrč (2000), Pierre Huyghe (2002), Rirkrit Tiravanija (2004), Tacita Dean (2006), Emily Jacir (2008), Hans-Peter Feldmann (2010), Danh Vo (2012), Paul Chan (2014), and Anicka Yi (2016). Work by each artist who receives the award is presented in a solo exhibition at the Guggenheim Museum in New York. Artists nominated for the Hugo Boss Prize 2018 are Bouchra Khalili, Simone Leigh, Teresa Margolles, Emeka Ogboh, Frances Stark, and Wu Tsang.



Emeka Ogboh featuring Ursula Rucker: Logan Squared

Starting September 24, 2017

As a monument to Philadelphians’ voices and visions, Emeka Ogboh’s Logan Squared: Ode to Philly features a collaboration with beloved Philadelphia poet Ursula Rucker, members of the Chestnut Street Singers, and hundreds of Philadelphians whose ideas were documented during Monument Lab’s discovery phase. Throughout his work, Ogboh creates soundscapes to honor and understand cities. For Monument Lab, Ogboh conceived of a collaboration to channel public participation and reflection. Responding to the Monument Lab open dataset, Rucker composed an epic poem serving as the backbone of this composition.



Münster Sculpture Projects 2017 Announces Artists List


The fifth edition of the once-in-a-decade Münster Sculpture Projects, taking place in the north German town of Münster from June 10 to October 1, released its participating artists list. Among the thirty-five artists representing nineteen countries in this massive exhibition are Michael Dean, Cerith Wyn Evans, Justin Matherly, Emeka Ogboh, Gregor Schneider, Thomas Schütte, Hito Steyerl, and Oscar Tuazon.



Invitation: Every Time a Ear di Soun, a documenta 14 Radio Program

February 23, 2017, 7 pm

Every Time a Ear di Soun, a documenta 14 Radio Program, is being presented on February 23, 2017 in Berlin. Deutschlandradio Kultur and documenta 14 cordially invite you to join them for the event in the domed hall of SAVVY Contemporary. The Artistic Director of documenta 14, Adam Szymczyk, artists Angela Melitopoulos and Emeka Ogboh, and curators Bonaventure Soh Bejeng Ndikung and Hila Peleg offer insights into the preparations for documenta 14 and talk about the ideas behind the radio program.



Global Art Forum 11

Performance by Emeka Ogboh: 13/01/2017 – 7:40pm -8:30pm

Tune into Emeka Ogboh’s performance at #GAF11 tomorrow at Dubai Design District
Ogboh has made the musical cartography of cities central to his practice as a sound artist, and will be performing a new piece developed especially for the Global Art Forum.




What to See in New York Art Galleries This Week

Das Afrikanische Bierlaboratorium I

Ludlow 38, MINI/Goethe-Institut Curatorial Residencies
38 Ludlow Street, near Hester Street, Lower East Side
Through Nov. 13 2016

What if a Nigerian immigrant in Berlin created a spicy stout that became the most popular beverage in the land? Emeka Ogboh imagines this possibility in his exhibition “Das Afrikanische Bierlaboratorium I,” at Ludlow 38.

The show’s centerpiece is an 11-minute video — part mockumentary, part fake infomercial — for Sufferhead Original, a fictional “black beer” brewed with chili peppers and named after the Fela Kuti song “Original Suffer Head” (1981), which detailed Nigerian political problems that spurred mass emigration. The video includes cameos by curators and friends posing as beer experts and enthusiasts, as well as Mr. Ogboh explaining the concept and development of Sufferhead Original.




Emeka Ogboh awarded the 2016 Prize of the Böttcherstraße in Bremen

Exhibition from 23 April to 18 September 2016

The jury of the Prize of the Böttcherstraße in Bremen announces Emeka Ogboh (nominated by Johan Holten, Staatliche Kunsthalle Baden-Baden) as the 2016 winner of the €30,000 prize. The award ceremony will be held on Sunday, 28 August at 11 am in the Kunsthalle Bremen. Works by the prize winner and the other nine nominated artists will remain on view at the Kunsthalle until 18 September2016.




Emeka Ogboh

Münster Lecture – Emeka Ogboh

Monday, 13 June 2016, 7 pm
Schlosstheater Münster, Melchersstraße 81, 48149 Münster
Admission free, lecture in English

Münster Lecture
All over the world, migration movements are changing the acoustic identities of places and creating new social landscapes, affiliations, ownership structures and local customs such as the use of public spaces and the local cuisine. Whereas cities like Lagos – artist Emeka Ogboh’s native town – are characterized by an intense acoustic backdrop, their counterparts in the global North are becoming ever quieter thanks to noise reduction campaigns. Observations of this kind have shaped Ogboh’s artistic method: he does not approach places visually but by way of their sounds and tastes…


Kunstpreis der Böttcherstraße in Bremen

Prize of the Böttcherstraße in Bremen 2016:

Exhibition from 23 April to 18 September 2016
Award ceremony: 28 August 2016, 11 a.m.

The Prize of the Böttcherstraße in Bremen is among the leading and highest awards in the field of contemporary art in Germany.
The competition features 30,000 Euro in prize money and, in 2016, it will be held for the 45th time.
Since 1985 the prize has been presented in the Kunsthalle Bremen with the support of the Donors’ Circle (Stifterkreis) of the Kunstverein in Bremen (Bremen Art Association). They have also made possible the purchase of a work by each of the prize’s winners. The Kunsthalle Bremen has thus been able to expand its collection through significant works by Martin Honert, Ólafur Elíasson, Wolfgang Tillmans, Tino Sehgal, Ulla von Brandenburg and Thea Djordjadze, among others. Every two years, ten distinguished curators each independently select one artist from the German-speaking area..



Market Symphony:

Opens February 3, 2016

Nigerian artist Emeka Ogboh brings his internationally recognized sound art to the Smithsonian National Museum of African Art in the new work Market Symphony.
A site-specific commission by the museum, Market Symphony draws on the commercial cries and urban ambiance of Balogun, a sprawling open-air market in Lagos, Africa’s largest and most populated city. Ogboh’s “soundscape” lets visitors experience the distinctive sounds of this vibrant Nigerian metropolis and the traders who drive its daily economy, transporting us from the hush of the gallery to a commercial hive approximately 5,407 miles away.



Organized by Shermin Langhoff with Alyosha Begrich, Çağla İlk and Antje Weitzel

November 13th – 29th, 2015

Where are people fleeing to, when they escape to Berlin? For two weeks the Gorki is providing over 30 international artists and activists with a platform to consider this question. In addition to artistic contributions, a daily programme of debates, films and other productions will address the borders that rip the populations of Berlin and Europe apart, in both visible and invisible ways.
At the core of the Herbstsalon (Autumn Salon) is a theatre project from Sebastian Nübling on the Gorki mainstage: In unserem Namen (In Our Name) traces the crisis of representation and asks how movements of solidarity can develop into political action.

After the first Berliner Herbstsalon in 2013 dealt with questions of identity, nation and origin, the Gorki is dedicating the second edition to the subject of escape. Over centuries Berlin has grown through and with refugees. Likewise, the new arrivals of recent months are already an indispensable part of the city’s fabric, and will continue to change this country in the years to come. While the political Berlin Republic is discussing avoiding misplaced incentives and quarrelling about defence rather than acceptance, the city’s reality is already something else. The contradictions are becoming increasingly more obvious.



The African Union: 20 to 20,000 Hz

October 23, 2015–January 10, 2016

With PLAYBACK, the ifa Gallery Berlin gives insight into the working process for a project at the African Union of the Nigerian sound artist Emeka Ogboh, winner of the competition for an artwork for the Peace and Security building of the African Union in Addis Ababa, Ethiopia.  

The exhibition is based on sound and archive materials the artist compiled for his installation work at the building in Addis Ababa. He brings together historical speeches broadcast by the Ethiopian radio network on the occasion of the founding ceremony of the Organisation of African Unity in 1963 with newly arranged compositions and his own sound recordings.

With reference to the principle of “Unity in Diversity,” the artist develops an adaptation of the anthem of the African Union based on translations into various African languages. In the form of a dynamic archive of voices, sounds and thoughts, the installation engages with the past and present of the association of African states, with its pan-African visions and rhetorical expressions.



no food for lazy man


A solo Exhibition by Emeka Ogboh
Curated by Bonaventure S. B. Ndikung and Solvej Helweg Ovesen

18.09. – 31.10.2015

In The Philosophy of Food , David M. Kaplan discusses inter alia how implicit assumptions of food with regards to health, economy and environment become explicit in the examination of the notion of what food is and what properties make something food,

as well as “the difference between natural and artificial food, the identity of food over time (from raw to cooked to spoiled), the differences between foods, or the difference between food and other edible things (such as water, minerals, or drugs).” Alone from a metaphysical point of view, Kaplan touches on at least four points that are crucial to this exhibition NO FOOD FOR LAZY MAN by the Nigerian born and Berlin/ Lagos-based artist Emeka Ogboh, namely food as culture, social good, spiritual and aesthetic object. From a cultural point of view, food assumes a position far beyond its nutritive function, as it is also expressive and normative.

It is within these frameworks that Emeka Ogboh’s solo exhibition will explore migration from Africa to Europe with food metaphors. Using popular signs, symbols, quotes, anecdotes and other associations found in Restaurants across Africa and Europe he will get granular on food flows within migrant contexts, food philosophies and cultures within migrant populations and especially with regards to how these migrants most of the time have to hustle to make ends meet.






25.6.2015 – 25.10.2015

This summer’s major exhibition at Louisiana focuses on architecture, art and culture on the African continent. By pinpointing a number of judiciously selected examples from a cultural here and now, the exhibition sheds light on the diversity and complexity of the part of Africa south of the Sahara Desert.  

Through a number of projects spread over the African continent the exhibition tells a story of the new architecture of different regions – with its various proposals for accommodating local traditions, strengthen the existing ones and create solutions for the future. The exhibition presents a sensuous architectural scenography and a number of installations, where the form, scale and space of architecture can be perceived on a 1:1 scale. Life around the buildings is also part of the architecture. In the exhibition art, photography, film and other arts create perspective to the architects’ efforts – and helps to refine our image of this part of the world.





Seattle Art Museum

JUN 18 – SEP 7 2015

Enter a new mask—one for the 21st century: it’s startling and joyful but also serious and menacing. When our experiences become difficult or curious, how do we confront what can’t be explained?

One option is to shake it out by adopting disguises and staging a masquerade.

Contemporary artists from Africa and of African descent explore this impulse by filling the galleries with inventive avatars and provocative new myths, taking us on mysterious journeys through city streets and futuristic landscapes.

Disguise: Masks and Global African Art is curated by Pamela McClusky, Curator of African and Oceanic Art for the Seattle Art Museum, and Erika Dalya Massaquoi, Consultant Curator..




The 56th International Art Exhibition

All the World’s Futures

9 May > 22 November 2015

The 56th International Art Exhibition titled All the World’s Futures, curated by Okwui Enwezor and organized by la Biennale di Venezia chaired by Paolo Baratta, will be open to the public from Saturday, May 9th to Sunday, November 22nd, 2015 at the Giardini and the Arsenale venues.





2 – 7 December 2014

A CONTEXT-ing / Listening as CONTEXT creates immersive and intimate situations for listening to the work of sound artists exploring the ontological aspects of sound while also working with various materials, approaches, and techniques.

CONTEXT-ing / Listening as CONTEXT will be premiered on the VIP opening night in the 2600sq.ft Sound Positions Pavilion – a dedicated space annexed to the main CONTEXT pavilion featuring 12 individual sound stations, making it the most important and largest sound project in an art fair – and continues during fair hours from December 3rd – 7th.

CONTEXT-ing / Listening as CONTEXT Artists include:

Tania Candiani, Mexico

Richard Chartier, USA

Richard Garet, Uruguay / USA

France Jobin, Canada

Emeka Ogboh, Nigeria

Kristin Oppenheim, USA

Manuel Rocha, Mexico

Steve Roden, USA

Hong-Kai Wang, Taiwan

Hildegard Westerkamp, Germany / Canada

Jana Winderen, Norway

Zimoun, Switzerland




Emeka Ogboh, Untitled, 2014. © The Artist.


14 November 2014 – 20 December 2014

Tiwani Contemporary present Mirrors & Echoes – Mary Evans and Emeka Ogboh, a collaboration between these two prominent artists. This is the first time Mary Evans and Emeka Ogboh have collaborated on an exhibition.

A dialogue between Evans and Ogboh was first established through a radio broadcast during Art Dubai 2013, in which Ogboh (who currently resides in Lagos) and Evans (who left the city as a child), discussed the rapidly evolving landscape of the Nigerian megacity. Evans’ recollection of the sites of her childhood merged with Ogboh’s current observations on his hometown to form a portrait of an ever-changing city, crossing space and time.

Mirrors & Echoes starts where the radio conversation ended, and further investigates notions of memory in relation to place, taking as its particular focus the interface between sound and image. The exhibition presents entirely new works, many of them site-specific. These include a number of individual works by Evans and Ogboh, as well as a large-scale collaborative installation, which forms the centrepiece of the exhibition. Comprising paper cut-outs, video, sound and sculptural elements, this multi-faceted collaborative work creates an imaginary space based on the artists’ recollections and current experiences of Lagos. Evans and Ogboh stitch together disparate elements in a multitude of ways, layering media and ideas so it becomes difficult to separate them. In doing so, they create an experience that highlights the intersections and instabilities of memory, history, subjectivity and place, as they evolve over time.

Artist Talk: Paul Goodwin in conversation with Mary Evans and Emeka Ogboh

Saturday 15 November, 3pm at Tiwani Contemporary Limited seats available. rsvp to




Emeka Ogboh


Nigerian sound artist Emeka Ogboh wins competition to produce an artwork for the Peace and Security building of the African Union in Addis Ababa..

Nigerian sound artist Emeka Ogboh wins competition to produce an artwork for the Peace and Security building of the African Union in Addis Ababa.
The selection committee met last weekend to choose the artist to produce the art for the new Peace and Security building of the African Union in Addis Ababa.
The jury voted unanimously to commission Emeka Ogboh to produce a work with local references. The work is to be based on an adaptation of the hymn of the African Union, which highlights the principle of “Unity in Diversity.”
Emeka Ogboh’s first reaction to the news that he had won the competition was as follows:
“This is great news for sound art and aspiring sound artists on the continent.”
The jury’s decision signals a fundamental change in direction with respect to art in public spaces. Emeka Ogboh specializes in digital auditive media and is one of Africa’s most promising young artists. A native of Nigeria, Ogboh is co-founder of VAN (Video Art Network) Nigeria. His impressive soundworks have been presented at a number of international exhibitions and art projects. The work he plans to develop for the African Union building will address the history, present, and future of the association of African states, forging connections between the building, its surroundings, and the city.



DanfoNYC, 2014. © The Artist.

Lagos State of Mind II

September 2014

The Africa Center presents Lagos State of Mind II, a sound installation combining the sounds of Lagos with audio narratives drawn from texts and quotes found around the city.

“The Nigerian sound artist is in New York this week and brought the vibrant, active sounds of a Lagos Danfo bus along for a one-day installation at the “Meet The Africa Center” event this Saturday in Harlem. Comparable to NYC’s iconic yellow taxi’s, Danfo buses are emblematic to Lagos public transport. In his installation titled Lagos State of Mind II, Ogboh installs the intensity and diversity of sounds from Lagos in and around a Volkswagen Danfo bus. Accompanying the sounds on exhibit is a photographic tour of the bus driving through NYC’s historic African-American neighborhoods and iconic landmarks such as the Apollo and the Empire State Building. Through audio-visual components, Ogboh will be taking visitors on a vivid, trans-national journey between Lagos and New York City”.





Sullivan and Flint, The Thing Is, performance at Motorcade / FlashParade in Bristol, 2012. © Thomas Heming.

17.5 — 7.9.2014

Hlysnan: The Notion and Politics of Listening

artist(s): Lawrence Abu Hamdan, Angie Atmadjaja, Kader Attia, Nina Beier & Marie Lund, Daniela Brahm & Les Schliesser, Peter Cusack, Clare Gasson, Marco Godinho, Christine Sun Kim, Brandon Labelle, Andra McCartney, John Menick, Angel Nevarez & Valerie Tevere, Udo Noll, Emeka Ogboh, Yoko Ono, Susan Schuppli & Tom Tlalim, Christine Sullivan & Rob Flint, John Wynne
curator(s): Berit Fischer, Kevin Muhlen

Exhibition, publication, performances and workshops

In the Old English word hlysnan, “to listen”, the focus is on the notions of attention and intent. Similarly the emphasis in the project HLYSNAN: The Notion and Politics of Listening lies on the active act not merely of hearing – usually referring to automatic or passive sound perception – but rather specifically on listening; hearing with intent.

Listening requires intensified concentration and attentiveness towards what one is listening to; it is linked to the notion of desire, anticipation and understanding, a striving for a possible meaning. HLYSNAN: The Notion and Politics of Listening understands listening as agency, as gesture, as attitude and as taking a position. The  exhibition attempts to reconcile audio practices with contemporary social and political realities and invites the visitor to actively experience, listen and engage with the sense of hearing to the various complex interplays.

Part of the investigations is for example the vocal gesture in specific situations like political speeches, legal and juridical contexts, or recording techniques and their impact in regard to documentation, writing and (re)creating history, and in the shaping of our culture and reality. The soundscapes and sonorous textures emanating from specific works presented in the exhibition may provoke immediate physical reactions, whereas other audible stimulus may address and question socio-political issues.

The 21st century, as much as contemporary exhibition making, is undeniably marked as an era of imagery and viewing. Despite many current exhibitions around the subject of sound in which the focus often lies on the visualisation of sound waves or the technicalities and materiality involved around it, HLYSNAN: The Notion and Politics of Listening departs from the representation and visual rendering of acoustic space and submits the auditory perception for consideration. Rather than displaying works destined for the eyes, the emphasis lies on the immaterial, the non-consumerist and the non-spectacle, in order to achieve a heightened concentration on the targeted sense.

The accompanying HLYSNAN: The Notion and Politics of Listeningpublication is considered an extending and supplementing format to the exhibition. Not only the concepts materialised in the exhibition are developed and contextualised further, but with complementing contributions by additional artists, the project offers a comprehensive overview on the various questions around the notion and politics of listening.