11

Dec.

The Ground Has Ears

– LISTENING THROUGH THE SCARS OF THE EARTH, 2023

RESEARCH PROJECT, 18MINUTES 14SECONDS, SOUND CLOUD – ONGOING

The Ground Has Ears is a sound art research project that listens to land as a living archive. The project’s point of departure is a quarry site comprising both active and abandoned sections in northern Nigeria using it as a microcosm for understanding extraction and post-extractive landscapes. This project draws from field recordings gathered from the quarry site and engage with it as an entrance into the wider environmental and sonic history of resource extraction around the world.

11

Dec.

The Ground Has Ears

– LISTENING THROUGH THE SCARS OF THE EARTH, 2023
RESEARCH PROJECT, 18MINUTES 14SECONDS, SOUND CLOUD – ONGOING

The Ground Has Ears is a sound art research project that listens to land as a living archive. The project’s point of departure is a quarry site comprising both active and abandoned sections in northern Nigeria using it as a microcosm for understanding extraction and post-extractive landscapes. This project draws from field recordings gathered from the quarry site and engage with it as an entrance into the wider environmental and sonic history of resource extraction around the world.

29

Nov.

Resonant Distance

– LISTENING BETWEEN LAGOS AND SCHLOSS SOLITUDE, CASTLE ARCADE, AKADEMIE SCHLOSS SOLITUDE, STUTTGART, NOVEMBER 29TH, 2025

Resonant Distance is a sound piece that invites listeners to experience the city of Lagos through the lens of solitude, memory, and distance. Lagos is a city defined by its sonic density, its relentless hustle and bustle, the thick weave of traffic, the street vendors’ melodic calls, the sharp punctuation of car horns, the ever-present hum of power generators, megaphones echoing across the street, and layers upon layers of music, conversations, arguments, and laughter. These sounds form a living architecture, creating a powerful sense of energy, survival, unpredictability, and life. They are not just noises; they are emotional signals, cultural codes, and memory triggers.

29

Nov.

Resonant Distance

– LISTENING BETWEEN LAGOS AND SCHLOSS SOLITUDE, CASTLE ARCADE, AKADEMIE SCHLOSS SOLITUDE, STUTTGART, NOVEMBER 29TH, 2025

Resonant Distance is a sound piece that invites listeners to experience the city of Lagos through the lens of solitude, memory, and distance. Lagos is a city defined by its sonic density, its relentless hustle and bustle, the thick weave of traffic, the street vendors’ melodic calls, the sharp punctuation of car horns, the ever-present hum of power generators, megaphones echoing across the street, and layers upon layers of music, conversations, arguments, and laughter. These sounds form a living architecture, creating a powerful sense of energy, survival, unpredictability, and life. They are not just noises; they are emotional signals, cultural codes, and memory triggers.

01

Nov.

Sea Never Dry

CENTRE FOR CONTEMPORARY ART LAGOS (CCA), NOVEMBER 1ST, 2025 – JANUARY 31ST, 2026.

The Centre for Contemporary Art, Lagos, is pleased to announce the opening of Sea Never Dry, a group exhibition which inaugurates an important conversation on the cultural and historical resonances of a site that continues to shape the social and imaginative life of Lagos.

Taking its title from the distinguished photographer Akinbode Akinbiyi’s long-term photographic series initiated in 1982, Sea Never Dry sensitively chronicles the rhythms of life at Lagos’s historic Bar Beach. Once a pivotal cultural and social landmark, at once a site of leisure, ritual, political assembly, and national reflection, Bar Beach has been irrevocably altered by the Eko Atlantic reclamation project. Its transformation underscores urgent questions of memory, erasure, and the shifting contours of the city’s urban landscape. This exhibition is conceived as a multidisciplinary platform for reflection and inquiry

01

Nov.

Sea Never Dry

CENTRE FOR CONTEMPORARY ART LAGOS (CCA), NOVEMBER 1ST, 2025 – JANUARY 31ST, 2026.

The Centre for Contemporary Art, Lagos, is pleased to announce the opening of Sea Never Dry, a group exhibition which inaugurates an important conversation on the cultural and historical resonances of a site that continues to shape the social and imaginative life of Lagos.

Taking its title from the distinguished photographer Akinbode Akinbiyi’s long-term photographic series initiated in 1982, Sea Never Dry sensitively chronicles the rhythms of life at Lagos’s historic Bar Beach. Once a pivotal cultural and social landmark, at once a site of leisure, ritual, political assembly, and national reflection, Bar Beach has been irrevocably altered by the Eko Atlantic reclamation project. Its transformation underscores urgent questions of memory, erasure, and the shifting contours of the city’s urban landscape. This exhibition is conceived as a multidisciplinary platform for reflection and inquiry.

10

July

Code-Switch: Icons & Inheritance

ART, MEMORY, RYTHM, RESISTANCE, SOUND, STORY, SPIRIT

This exhibition brings together contemporary Nigerian artists who navigate the porous boundaries between the past and the present, engaging inherited symbols, stories, and visual languages as raw material for transformation. Here, “Code-switching”, a linguistic practice of shifting between different presentations or modes of communicating oneself, becomes a metaphor for these artists ability to speak to multiple realities and times at once…

10

July

Code-Switch: Icons & Inheritance

ART, MEMORY, RYTHM, RESISTANCE, SOUND, STORY, SPIRIT

This exhibition brings together contemporary Nigerian artists who navigate the porous boundaries between the past and the present, engaging inherited symbols, stories, and visual languages as raw material for transformation. Here, “Code-switching”, a linguistic practice of shifting between different presentations or modes of communicating oneself, becomes a metaphor for these artists ability to speak to multiple realities and times at once.

24

May

Computer Village

ART, SONIC ECHOES OF ELECTRONIC REMAINS, E-WASTE, GLOBAL CONSUMPTION, ELECTRONIC WASTE

Computer Village is a sound piece that explores the afterlife of technology and its sonic residues created by computer and electronic remains. The piece listens closely to the silent collapse and reanimation of machines that defined our digital age. By centering e-waste not just as environmental debris but as a sonic archive of global consumption. Computer Village borrows its title from one of Africa’s largest technology markets and an unofficial processing center for global electronic waste. It transforms discarded electronics into a ghostly chorus of industrial ruin.

24

May

Computer Village

ART, SONIC ECHOES OF ELECTRONIC REMAINS, E-WASTE, GLOBAL CONSUMPTION, ELECTRONIC WASTE

E-Waste, Global Consumption

Computer Village is a sound piece that explores the afterlife of technology and its sonic residues created by computer and electronic remains. The piece listens closely to the silent collapse and reanimation of machines that defined our digital age. By centering e-waste not just as environmental debris but as a sonic archive of global consumption. Computer Village borrows its title from one of Africa’s largest technology markets and an unofficial processing center for global electronic waste. It transforms discarded electronics into a ghostly chorus of industrial ruin.

08

March

Water No Get Enemy Shifting Sands, Rising Tides 2023 – 2025

ART, LAND RECLAMATION, COASTAL COMMUNITIES, SONIC DIALOGUE.

Lagos is a city in constant negotiation with water. The Atlantic presses against its shores, while inland, lagoons weave through its urban fabric. Yet, in this restless dialogue between land and water, power is unevenly distributed. The ongoing land reclamation efforts in Bar Beach, Makoko, Iyana Oworo and Oko Baba epitomize a paradox: the pursuit of progress through the erasure of communities that have long thrived with and on water. Water No Get Enemy is an immersive sound piece that examines the ongoing land reclamation in waterfront communities in Lagos where water is both a home and a battleground…

08

March

Water No Get Enemy Shifting Sands, Rising Tides 2023 – 2025

ART, LAND RECLAMATION, COASTAL COMMUNITIES, SONIC DIALOGUE.

Lagos is a city in constant negotiation with water. The Atlantic presses against its shores, while inland, lagoons weave through its urban fabric. Yet, in this restless dialogue between land and water, power is unevenly distributed. The ongoing land reclamation efforts in Bar Beach, Makoko, Iyana Oworo and Oko Baba epitomize a paradox: the pursuit of progress through the erasure of communities that have long thrived with and on water. Water No Get Enemy is an immersive sound piece that examines the ongoing land reclamation in waterfront communities in Lagos where water is both a home and a battleground…

13

March

Black Market

ART, SCARCITY, SOCIETY, EXPERIMENTAL SOUND, VIDEO PEICE

Nigeria ranks as Africa’s largest producer of oil and the sixth-largest oil-producing country in the world With a maximum crude oil production capacity of 2.5 million barrels per day. Nigeria has a greater potential for gas than oil. Nigeria’s gas production in the year 2000 was approximately 1,681.66 billion scf, 1,3715 billion scf was associated with gas and the rest 310.16 billion was non associated gas, with a maximum crude oil production capacity per day, fuel scarcity is not new to Nigerians, it as a child knows a toy by AutoReportNG, May 23, 2020.

13

March

Black Market

ART, SCARCITY, SOCIETY,  EXPERIMENTAL SOUND, VIDEO PEICE

Nigeria ranks as Africa’s largest producer of oil and the sixth-largest oil-producing country in the world With a maximum crude oil production capacity of 2.5 million barrels per day. Nigeria has a greater potential for gas than oil. Nigeria’s gas production in the year 2000 was approximately 1,681.66 billion scf, 1,3715 billion scf was associated with gas and the rest 310.16 billion was non associated gas, with a maximum crude oil production capacity per day, fuel scarcity is not new to Nigerians, it as a child knows a toy by AutoReportNG, May 23, 2020.

02

March

Adashi, No Packing

ART, GAMBLING, CULTURE, SOUND, ELECTRONIC MUSIC

Gambling seems to be rather a different hobby, a common and well-regulated pastime in most corners of the world. In 2020, the global gambling market had an estimated size of $443 billion, that is about $50 billion more than Nigeria’s gross domestic product and is predicted to rise by $200 billion in the next seven years ‘Gambling Statistics in Nigeria’ The Nation Newspaper, December 29, 2020.

02

March

Adashi, No Packing

ART, GAMBLING, CULTURE, SOUND, ELECTRONIC MUSIC

Gambling seems to be rather a different hobby, a common and well-regulated pastime in most corners of the world. In 2020, the global gambling market had an estimated size of $443 billion, that is about $50 billion more than Nigeria’s gross domestic product and is predicted to rise by $200 billion in the next seven years ‘Gambling Statistics in Nigeria’ The Nation Newspaper, December 29, 2020.

01

October

Table of Paradox

ART, HISTORY, SOUND

Table of Paradox is a body of work that takes an introspective look at the history of Nigeria since the attainment of self-rule, and metaphorically unravels how her historic past, embodied by hopefulness and freedom from dependent rule, expresses itself on the modern- day.

01

October

Table of Paradox

ART, HISTORY, SOUND

Table of Paradox is a body of work that takes an introspective look at the history of Nigeria since the attainment of self-rule, and metaphorically unravels how her historic past, embodied by hopefulness and freedom from dependent rule, expresses itself on the modern- day.

05

January

Let’s Turn Time on the Table

ART, MULTIMEDIA, HISTORY

Let’s Turn Time on the Table is a multimedia body of work that revisit history. It probes into Nigeria’s historical past using highlife music as a takeoff point to explore its place in her history given its social, political and economic significance during the struggle for independence and the period of the civil war. These sound highlights some events in the socio-political space 1960 – 1980, bring to fore the effect of the music in the formation of identity and nationhood.

05

January

Let’s Turn Time on the Table

ART, MULTIMEDIA, HISTORY

Let’s Turn Time on the Table is a multimedia body of work that revisit history. It probes into Nigeria’s historical past using highlife music as a takeoff point to explore its place in her history given its social, political and economic significance during the struggle for independence and the period of the civil war. These sound highlights some events in the socio-political space 1960 – 1980, bring to fore the effect of the music in the formation of identity and nationhood.