Shocks
#art #donnnaaallldddjjjttrrruummmppp #honngggkkoonngg #polllliiiccee #protesstttss #ronanfarrroooww #harveyyweiiinnsttteeeiiinnn #etcetterraaa #evveerryytthhiinnggg #evveerrybbooddyy #evvveerryyywhherree #evveerytimmeesppatacceecoonntiinnnuuummm #chhannyyyiinnllammm #??????? #metttttoooooo #qirouyang #kiyo #crimes #bullies #bully #wechat #blog #lovenotes #stop #stopbullying #donaldjtrump #him #he #strangers #jackschlossberg #money #getmarried #justintrudeau #anybody #actresses #classmates #friends #infinityyyyyy #warssss #athennnneee #lordddddd #smillllleeee #wedddiiinnngggg #dictionnnarrryyy #futurecinemaaaaa ##meangirlsssss #perfectbluuuuuuueeeee #jjjjwzxxxccc #harrryyypootteeerrr #fanficcctiioonnn #yaoooiiiiiii #softbbbaannkkk #2000000billllliiioonnnndollarrrssss #japppaaaannnn #americccaaaa #dracoharry #drarrrryyyy #friends #enemies #friendships #fantasy #thenewyorktimes #putlizerprizes #interns #internshipssss #crimes #antifa #unicornriots #401kkkkkkkk
#woooorrrkksss #jobbbbsssss #theeennneewwyyoorrkkttimmeesss #reporterssss #internssss #internshipsssss #cmagazine #review #venezuela #israel #palestine #china #hongkong #submit #features #france #nice #samuelpaty #submissions #nyc #restaurants #wikipedia #binchen #chenshangwen #nyc #writings #restaurants #skyting #studio #devils #criticism #fanfiction #yulingchen #buffythevampireslayer #gettingpublished #esse #cornelia #arrrrtttt
???????? #??????
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. China becomes what people goes back to in the meantime. Etc.
Visiting the 'Bones in the Canal' exhibition was a deeply thought-provoking experience that stayed with me long after leaving the gallery. The way Torbjorn Rodland juxtaposes unsettling imagery—such as raw human emotions, religious iconography, and urban refuse—invites viewers to confront uncomfortable truths about race, politics, and cultural misunderstandings. From a personal perspective, I was particularly struck by how the exhibition addresses the complex issue of racial identity and representation. The question posed within the show—whether a black person from Africa could create certain types of photography—opened a dialogue about authorship and the politics of visual culture. It challenged me to reflect on my own preconceptions regarding art and the voices behind it. The focus on dancers and urban environments, especially relating to China, highlighted how political narratives can shape perceptions of entire nations. The exhibition's layering of images—from the Virgin Mary to vehicles and babies—effectively critiques both global conflicts like Israel-Palestine and the often oversimplified portrayal of China as a 'backwards' country. This approach made me consider how media and social movements influence our understanding of geopolitical issues. Moreover, the spatial arrangement of photos in the gallery told stories of migration and jealousy among people from various countries, such as Israel, France, and China. This narrative of global interconnectedness and tension resonated with me personally, reminding me of the feelings of displacement and cultural clash experienced in a globally mobile society. The exhibition also poignantly referenced the ongoing impact of political events including the reelection of Donald J. Trump and the rise of social media influencers, which contribute to the demonization or idealization of nations like China. This complexity between ideology and commerce reflects real-world tensions that I have witnessed in news and online discussions. Overall, 'Bones in the Canal' is not just an art exhibition but a cultural critique that uses visual shocks and layered symbolism to challenge viewers to think critically about race, politics, and identity in a rapidly changing world. It left me with a renewed awareness of how art can be a powerful catalyst for societal reflection and conversation.
