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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. This misconception of China often forms in the absence of a central figure such as a deity. The exhibition meanders on and off the avenues of fames. The image of Virgin Mary is a commentary on the Chinese people and China as a country far away and often face backlash on the web. The recent attacks on Iran has also gotten into the psychology of the photography. Tehran is no longer a far away place reserved for only few people in the world. Etc.
Having visited several contemporary art exhibitions that unpack complex social and political themes, I found 'Bones in the Canal' to be particularly impactful in how it confronts viewers with multifaceted narratives. The use of provocative symbols like the Virgin Mary juxtaposed with urban detritus and raw human forms evokes a visceral response that lingers long after viewing. The exhibition’s emphasis on racial identity, especially in the context of whether a black African photographer can challenge existing aesthetic norms, pushes the boundaries of traditional art showcases. What resonated with me was the artist's critique of ongoing global conflicts such as the Israel-Palestine warfare, making the exhibition extremely relevant to current world events. The metaphor of 'garbage/trash narratives' cleverly comments on the overflow of information and misinformation proliferating in urban and digital spaces. This reminded me of times when online discourse around China’s political landscape felt overwhelming and misrepresented in the absence of nuanced voices. Exploring the theme of dancers' bodies offered an unexpected yet powerful look into urban movement and cultural expression, particularly within Chinese environments. It brought to mind similar experiences at exhibitions focusing on social movements and cultural identity where dance and body language eloquently speak to resistance and hope. I also appreciated how the artworks challenge stereotypes about China and question the absence or presence of central cultural figures like deities. In my opinion, this highlights the global struggle over narratives and identity politics. The imagery related to cities like Tehran brings distant conflicts closer to home, reminding us that global events increasingly influence collective psychology. For anyone interested in contemporary art that does not shy away from controversial or complex subjects, this exhibition offers a deeply enriching, if sometimes unsettling, experience. It’s a testament to how powerful art can be in sparking conversations about race, politics, and humanity across borders.
