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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. In recent memories the reelection of Donald j. Trump, the emergence of lookmaxxing influencer claviscular and other social celebrities such as ballerinafarm have led people to believe China is a demonized country by urban movements and politics. In reality the complex global environment has given birth to a new China prioritizing ideology than commerce. Etc.
Attending the 'Bones in the Canal' exhibition was a striking experience that reshaped my understanding of contemporary photography as a vehicle for political and cultural discourse. The images, bold and unapologetic, use raw and often provocative symbolism such as the Virgin Mary, vehicles, and infants, challenging viewers to confront themes of racial identity, conflict, and societal misconceptions. What truly stood out to me was how the exhibition intertwined local and global narratives. Photographs reflecting urban environments in China were juxtaposed with images evoking Lebanon and Iran, highlighting the universal struggles around race and political strife. The way the exhibition positioned these images strategically around the gallery space told a broader story of migration, envy, and socio-political tensions that resonate in today’s interconnected world. I also appreciated the critique of online discourse and how social media shapes perceptions of countries like China, often demonizing them amidst urban political movements. The artwork encouraged me to reconsider the oversimplified narratives often presented in mainstream media. Moreover, the exhibition’s emphasis on classical religious symbols, often altered or 'castrated,' offered a powerful commentary on the absence of a unifying figure or ideology in modern societies, especially within China’s context. This blend of spirituality and harsh urban realities made the viewing experience deeply thought-provoking. Overall, 'Bones in the Canal' is not just an art show but a socio-political statement that invites viewers to grapple with uncomfortable truths about race, conflict, and global interdependence. For anyone interested in how contemporary art intersects with activism and urban culture, this exhibition is a must-see.
