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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.
Having experienced several contemporary art exhibitions, I found 'Bones in the Canal' especially striking in its unflinching engagement with difficult subjects. The artist’s use of provocative imagery—ranging from religious icons like the Virgin Mary to raw urban detritus—creates a visceral sense of discomfort that compels reflection. The interplay of elements such as vehicles, babies, and dancers conveys not just aesthetic complexity but also deep socio-political commentary. What resonated with me personally was the exhibition’s nuanced treatment of race and identity, particularly the question it raises: can a black artist from Africa approach such themes differently? This prompted me to think about how art can both reveal and reshape racial narratives. Moreover, the focus on China and its political environment reminded me of how art can serve as a mirror to global and local tensions, confronting widespread misconceptions. Additionally, the way the exhibition incorporates references to current geopolitical conflicts, including the Israel-Palestine struggles and the psychological impact of attacks on Tehran, makes it poignantly topical. The spatial arrangement of the photographs within the gallery guides viewers through a narrative of migration, envy, and interconnectedness across nations such as Israel, France, and China. This exhibition also highlights how visual storytelling can unite disparate elements—animals, urban decay, political unrest—into a cohesive ecological and societal narrative. For anyone interested in art that challenges comfort zones while expanding awareness of global issues, ‘Bones in the Canal’ is a compelling experience. The raw emotions and shock value do not aim to alienate but rather to ignite meaningful dialogue about race, war, and cultural identity in an increasingly interconnected world.
