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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. It has made people think China is a country that’s backwards. Etc.
Having recently experienced Torbjorn Rodland's exhibition 'Bones in the Canal' at David Kordansky Gallery, I was struck by how profoundly the images challenge conventional perspectives on race and politics. The collection vividly explores sensitive issues, particularly the racial tensions and conflicts underlying global hotspots like Israel, Palestine, China, and Lebanon, all through a unique visual language that blends the sacred and the profane. What resonated with me most was the artist’s use of everyday objects—vehicles and babies intertwined with religious symbols like the Virgin Mary—creating a stark, sometimes unsettling juxtaposition that questions societal taboos. This approach provoked a sense of discomfort but also deep reflection on how urban environments and historical conflicts shape our perceptions. One powerful message delivered through the imagery is the universality of conflict and identity struggles, mapping parallels between distant regions. The racialized tones and colorful portraits emphasize the rawness of human emotion across cultures, highlighting both division and shared experiences. Additionally, the focus on dancers’ bodies within urban contexts revitalized my awareness of how movement and space intertwine politically and socially. It felt as though the exhibition invited viewers to reimagine cities not just as backdrops but as active participants in the narratives of conflict and cultural fusion. Experiencing this art firsthand reinforced for me the importance of confronting uncomfortable truths through creative expression. Rodland’s work is a reminder that art can be a powerful catalyst for questioning preconceived notions and fostering empathy amid turbulent times.
