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Emeka Ogboh,, The Way Earthly Things Are Going, 2017, 

Emeka Ogboh,

The Way Earthly Things Are Going, 2017, 

Multi-channel sound installation

Installation view, Tate Modern, 2017

© der Künstler, Tate Modern 2017

Emeka Ogboh,, The Way Earthly Things Are Going, 2017, 

Emeka Ogboh,

The Way Earthly Things Are Going, 2017, 

Multi-channel sound installation

Installation view, Tate Modern, 2017

© der Künstler, Tate Modern 2017

EMEKA OGBOH Spirit and Matter, 2017-2018

EMEKA OGBOH
Spirit and Matter, 2017-2018
Light and sound installation composed of three photographs printed on stained-glass and mounted on lightboxes, audio
Unique
99 1/4 x 59 7/8 in
252 x 152 cm
duration: 10 min 34 sec
Edition of 1 plus 1 artist's proof

EMEKA OGBOH Spirit and Matter, 2017-2018

EMEKA OGBOH
Spirit and Matter, 2017-2018
Light and sound installation composed of three photographs printed on stained-glass and mounted on lightboxes, audio
Unique
99 1/4 x 59 7/8 in
252 x 152 cm
duration: 10 min 34 sec
Edition of 1 plus 1 artist's proof

Press Release

James Cohan is pleased to present Notes on Exile, the first US gallery exhibition of work by multimedia artist Emeka Ogboh, on view at 48 Walker Street from October 28 through December 18, 2021. This exhibition marks the US premiere of The Way Earthly Things Are Going, 2017, Ogboh’s internationally acclaimed work from documenta 14. The gallery will host a masked reception on Thursday, October 28, from 6-8 PM. Proof of vaccination will be required for entry

 

To explore the exhibition in our Viewing Room, please click here

 

The Nigerian-born, Berlin-based artist Emeka Ogboh’s multi-sensory practice explores the transient nature of culture. Ogboh refers to the “ubiquity of sonority” as a mnemonic device, creating sound and multimedia installations that prick collective memories of place. Likewise, he crafts flavors from varying regions of the world into blended gastronomic experiences, mimicking intricate narratives of migration. His practice is rooted in synthesizing sounds found in his home country of Nigeria—such as the bustle of a Lagos marketplace and bus stop or the harmonized singing in an Igbo ámà’ (village square)—into institutions and cityscapes of the global north. These soundscapes help examine critical questions about the movement of people across the globe. While the artist uses sound as a unifying concept, Ogboh’s sonographic works complicate individual ideas of identity and belonging. With a multimedia body of work ranging from the audiovisual to the gustatory, Emeka Ogboh encourages an ethico-political reflection of diaspora.

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