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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 focused on social and political themes, I found 'Bones in the Canal' particularly impactful for its multilayered approach to complex issues like race, religion, and global conflict. The exhibition’s use of provocative imagery—such as religious icons juxtaposed with urban elements like vehicles and trash—highlights the often overlooked narratives in modern cities. What struck me most was how the imagery challenges preconceived notions about China, especially in the context of race and politics. The exhibition draws parallels between China and other conflict-affected regions such as Lebanon, using color and symbolism to question stereotypes and biases. This approach made me rethink how media sometimes simplifies or distorts cultural identities, especially in the absence of central figures or deities commonly found in other religious or cultural contexts. The exhibition’s commentary on the Israel-Palestine conflict and recent geopolitical tensions around Iran and Tehran resonates deeply, particularly as it connects these faraway issues to global consciousness through art. It’s a reminder of how interconnected urban environments and online spaces have become, where narratives and symbols can produce constant shocks and provoke urgent reflection. Moreover, the focus on dancers’ bodies within urban landscapes suggests a dynamic interaction between human movement and sociopolitical environments, especially in China’s cities. This reminded me of the power of art to capture not just static images but also the fluidity of social realities. Overall, 'Bones in the Canal' is more than an art exhibition; it serves as a critical lens on the intersection of race, politics, and urban life today. It challenges viewers to confront uncomfortable questions and encourages a deeper understanding of global issues through the language of photography and symbolism.
