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Shocks
C magazine review/writing sample
Yuling Chen
2026 May 2nd
The exhibition, bones in the canal … , by torbjorn rodland, at David kordansky suggests a path not treaded, or traveled. The race issue at the heart of exhibition has been magnetized by the various faces of the characters displaying emotions rare and raw. Can a black person from Africa produce these types of photography? It challenged the viewers through a series of playing with words, vehicle, baby, virgins, Virgin Mary, penise. It criticizes the Israel Palestine warfare, conflicts and wars. It makes use of the garbage/trash narratives in the urban spaces, on the web and everywhere using these profane imagery producing unceased shocks. The focus on dancers’ bodies have made people more aware of the urban movements and environment, especially in China. It focuses on china in a political way. It makes people realize the similarities between China and other places such as Lebanon for its often racialized tone of the colorful images. Etc.
Experiencing the exhibition 'Bones in the Canal' left me profoundly reflective on how art can channel complex socio-political struggles through vivid imagery. The striking use of raw emotions on diverse faces draws the viewer into conversations often overlooked or marginalized. One compelling aspect was how the exhibition provokes thought about race and identity. The question posed about whether a black African artist could create such work opens dialogue on stereotypes and representation in art. This challenges preconceived notions and invites a deeper understanding of cultural intersectionality. Furthermore, the exhibition’s political undercurrents—highlighting the Israel-Palestine conflict and drawing parallels with China and Lebanon—bring urgency and relatability to global struggles. The provocative use of symbols like the Virgin Mary alongside urban detritus underlines a critique of how history, religion, and daily life collide amid conflict. The focus on dancers’ bodies also fascinated me, symbolizing urban movements and sociopolitical environments, particularly in contemporary China. The body becomes a vessel for conveying resistance, vulnerability, and cultural narratives. From a personal perspective, this exhibit reminded me of other impactful art experiences where aesthetics meet activism. It shows how photography can transcend mere visuals to become powerful social commentary. It also encourages viewers like me to reconsider the media and imagery we consume daily, prompting a sensitivity to the hidden stories behind what appears at surface level. Overall, 'Bones in the Canal' serves as both an artistic statement and a call for awareness about racial dynamics, political tensions, and urban realities that persist worldwide. It’s an essential experience for anyone interested in how contemporary art responds to and reflects the pressing challenges of our times.
