[3] He became interested in sound art during a media class at the 2008 Fayoum Winter Academy with Austrian multimedia artist Harald Scherz.
In this way, the power blackout during the Nigerian 2014 FIFA World Cup game was not an angry crowd but a "honest commentary on the government's provision of resources".
[5] Home from his Egyptian art program, Ogboh was inspired to create the Lagos Soundscapes project when the artist was able to identify the sounds of his city during a phone call with a friend.
A vendor offers a prayer before selling medication to riders, as a sociopolitical protest song by Fela Kuti plays on the radio.
The 40-minute installation was exhibited at Cologne's Rautenstrauch-Joest Museum in 2010, and the booth was painted yellow with black stripes and stickers to imitate the hallmarks of the danfo.
The piece is a six-minute collage of speeches from Nigeria's 1960 independence festivities, including those of President Nnamdi Azikiwe, Prime Minister Sir Abubakar Tafawa Balewa, and English Princess Alexandra of Kent.
Their aspirations for a human rights, freedom, religious tolerance, and economic development, compared with the present day, show Nigeria's political failures over the previous half-century.
[3] The artist noted how hawking has been banned on Lagos's new roads and that the danfo share taxi will eventually disappear, along with their contribution to the city's soundscapes.
This historical element was not an initial consideration in the project, though the artist planned for his future work to narrate the transformation of the city.
The installation, which features a soundscape and a large textile-covered sculpted tree, is meant to evoke daily life in an Igbo village.
Quiet European cities have considered the work "noisy and obtrusive", in one case destroying a speaker and calling the police on the installation.
[5] Art historian Carol Magee noted how even in the business of the Lagos Soundscapes, she felt a stillness in which her attention was focused and the patterns unchanging despite the cacophony of the scene.
[22] Malawian visual artist Massa Lemu described Ogboh's work as embodying Afropolitanism, in which African cities were representative of a busy, globalized world and its multiple cultures centralized in one place.