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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. People can tell what’s real and what’s fake. The photography has a narrative central to the idea of uniting various forces in the world — animals are part of eco society. In the gallery the spatial position of each photograph tells the story of people who moved around the world. They are seriously jealous of people from Israel , China, France and anywhere. It’s a type of disgusts remaining resonate in today’s world. The progenitor of the exhibition is a parameter. Etc.
Experiencing the exhibition "Bones in the Canal" offers a profound encounter with contemporary social and political realities portrayed through unsettling imagery. What resonated with me was how Rodland harnesses everyday symbols—vehicles, babies, and religious icons like the Virgin Mary—and recontextualizes them into a complex commentary on global tensions. The way the exhibition highlights the shared urban struggles and racialized undertones in places as disparate as China and Lebanon felt particularly insightful. It reveals how visual narratives can transcend borders, connecting vastly different cultures through common experiences of marginalization and conflict. Additionally, the exhibition’s critique of Israel-Palestine conflicts and the psychological impact of recent events in Iran brought an urgent sense of reality to the gallery space. The visceral emotions captured in the photography challenge viewers to reconsider their preconceptions and the media narratives they consume. Perhaps most compelling was the subtle exploration of eco-society through the integration of animals in the images, reminding us of the interconnectedness of humans and the natural world amidst political turmoil. The spatial arrangement within the gallery itself seemed deliberate, narrating stories of migration, envy, and identity. For those interested in photography that pushes boundaries, engages with critical contemporary issues, and defies simple interpretation, this exhibition is both challenging and enriching. It calls attention to how art can provoke thought and dialogue about race, politics, and society in ways that traditional discourse may not. Visiting such a show can be an eye-opening experience, encouraging us to confront uncomfortable truths through the power of visual storytelling.
