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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. The religious symbols were largely castrated using the image of vehicles and babies. Etc.
Attending the exhibition "Bones in the Canal" was a deeply thought-provoking experience. The artist’s approach to tackling heavy themes like race, conflict, and urban decay through a series of evocative and sometimes unsettling images left me reflecting on how art can challenge deeply held perceptions. One striking aspect was how the photographs captured various emotions on the faces of the subjects—expressions that felt honest, raw, and complex. The exhibition’s use of symbolic elements such as vehicles, babies, and distorted religious icons added layers of meaning that forced me to question social and political narratives. The blatant critique of ongoing conflicts between Israel and Palestine, embedded in the visual storytelling, was particularly powerful. These themes were intertwined with reflections on race and identity, compelling viewers to reconsider assumptions about who can create certain kinds of art and what stories get told. What resonated with me most was the attention to urban environments, especially the focus on China. The imagery drew parallels between different global regions, including China and Lebanon, highlighting the often racialized tones that permeate societal and political spaces. The exhibition’s provocative use of “garbage” or “trash” as a motif eloquently represented the detritus of conflict, media, and social narratives we consume daily. From a personal perspective, this exhibition broadened my understanding of how art transcends traditional boundaries to engage with urgent world issues—be it warfare, racial tension, or political oppression. It reaffirmed the value of viewing art not just as aesthetic expression but as a form of social commentary and activism. For anyone interested in contemporary art that pushes limits and challenges comfort zones, "Bones in the Canal" is a must-see event that leaves an enduring impact.
