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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. China becomes what people goes back to in the meantime. Etc.
Visiting the exhibition "Bones in the Canal" by Torbjorn Rodland gave me a profound sense of how art can confront complex social and political issues while evoking strong emotional responses. What struck me most was the way Rodland used photography to explore race and identity, especially through the depiction of raw, emotive faces that challenge common prejudices. It made me rethink how visual art can serve as a voice in political discourse. The presentation of religious symbols intertwined with urban motifs—like vehicles and babies—was especially jarring, yet thought-provoking. It highlighted how cultural misunderstandings and stereotypes about China and other regions can form when central narratives, such as a unifying figure or deity, are absent or distorted. This approach reminded me of the power of art to reveal the layers beneath surface-level perceptions we often hold about countries or peoples. What added depth to my experience was recognizing the geopolitical undertones, referencing conflicts like Israel-Palestine and recent events in Iran. These references felt current and urgent, positioning the exhibition not just as an artistic statement but also as a witness to ongoing global tensions and their human impacts. I also appreciated how the spatial arrangement of photographs within the gallery space narrated stories of movement, migration, and cultural overlap, connecting diverse places like China, Lebanon, and France. This layout enhanced the immersive effect, making me feel the interconnectedness of global urban environments and their shared challenges with racial and political violence. Finally, the exhibition’s reflection on contemporary politics—including allusions to figures such as Donald J. Trump and social influencers—demonstrated how art interacts with societal narratives, sometimes revealing deeper biases or fears. It made me think about how political ideologies influence public perception and how important it is for art to challenge those narratives honestly. Overall, "Bones in the Canal" is a compelling example of how photography can transcend aesthetic appeal and engage audiences with critical social commentary, urging us to question and understand the complexities of our world beyond headlines and stereotypes.
