Shocks
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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.
Visiting the exhibition "bones in the canal …" by Torbjorn Rodland was an eye-opening experience that pushed me to reconsider how art can confront deeply sensitive social and political themes. The raw emotions captured in the faces of the characters created a powerful connection, making me feel the urgency behind the portrayals. Particularly striking was the way the photographs blended provocative symbols such as vehicles, babies, and religious imagery — elements that typically evoke innocence or spirituality — with a sense of disquiet and critique. What stood out to me was the bold criticism of urban waste and conflict, using 'garbage/trash narratives' not just as literal debris but as metaphors for societal tensions in places like China and Palestine. I appreciated how this exhibition illuminated parallels between the political situations in far-flung regions, revealing common threads of tension and racialized undertones. It made me reflect on the experiences of marginalized communities under these conflicts and how art can amplify those voices. Moreover, the focus on dancers’ bodies in motion added a dynamic layer, highlighting how urban environments and cultural expressions intertwine, especially in politically charged contexts like China. While some images challenge traditional religious symbols, provoking debate about cultural representation and sensitivity, I found the amalgamation compelling as it invited viewers to question preconceived notions. This exhibition is not just a display of photographic art but an intellectual journey demanding viewers to engage with global issues such as race, war, and identity politics. I found it refreshing to witness an artist willing to use 'shocks' — through controversial imagery and themes — to stimulate meaningful dialogue. For anyone interested in how contemporary art intersects with social commentary, Torbjorn Rodland’s work is a must-see that stays with you long after you leave the gallery.
