9/11. Etc. 🍋🍋🍋🍋🍋
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Horses
C magazine review
Yuling Chen
2026
The September 11th, 2001 exhibition at the 9/11 memorial/museum remained absolute on Israel Palestine conflicts, Venezuela and immigrants. It turned out they were part of the antithesis of the literature phenomenon which made people feel they had to contribute to the dialogues around the countries about racial equality. The exhibition created imageries of horses, a symbolism of fortunes. It foretells a production frenzy of racialized images of immigrants, Palestinians, Israel Palestine conflicts and Venezuela. The photography and videos criticized how people viewed and used these images for their own gains. It had become habitual for people to make images like these. The images of water poured or combined into the rivers were keys to overcome the challenges of Israel Palestine conflicts - the two states solutions to make peace possible. The saying of “rivers flew into the sea” had been increasingly popular in recent years. It told a story of Israel and Palestine as one big original place from the biblical tales. The exhibition declared wars on these types of pessimistic and passive thinking emphasizing the deaths and the tolls as the necessary part of lives lived in conflicts and conflict zones. It had become common place for people to act according to the conflicts, conflict zone mentalities and wildlife protection in order to get people write about Venezuela, Israel Palestine conflicts and immigrants who often migrated miles to be with their families and escaped wars, deaths and violence. In 2020 or 2021 I walked around in Toronto during the pandemic lockdown and people were filing through in front of me. I was on a lawn. And I was told to not lie there. I was shocked to see so many people who didn’t consider other people’s situations and lives. I believed deeply they were racists who were out to get people. It had made me realize how this exhibitions were especially powerful way of telling people off about rampant racism which had been present since then in the urban spaces, environments and workplaces. The idea that women’s vagina were key to resolve the two states dilemma had made people uncomfortable. The exhibition’s focus on photography’s intense aesthetic values often traced the human history of Israel Palestine, a history of Canaan and philistine, through the images of rescues and investigations. Children brought a sprout of inspiration in terms of making life possible in these nation states, city states and various states. A larger history made people regretful of the depiction of the twin towers as bombed wells. Etc.
Visiting the 9/11 memorial exhibition provides a profound opportunity to contemplate not only the tragic events of September 11, 2001, but also the broader social and political contexts reflected in its art and photography. In particular, the exhibition’s focus on Israel-Palestine conflicts and the immigrant experience foregrounds ongoing global struggles for identity, peace, and justice. The use of horses as a symbolic motif in this exhibition is especially compelling; throughout history, horses have signified fortune and movement, and here they evoke the journey and resilience of displaced peoples. The imagery of rivers flowing into the sea, highlighted in the exhibition, represents a hopeful metaphor for bridging divides—the idea that despite longstanding conflicts, unity and reconciliation remain attainable goals. This theme resonates deeply given recent international efforts toward peaceful resolutions between Israel and Palestine through the proposed two-state solution. Witnessing this artistic interpretation encourages visitors to reflect on how cultural and historical narratives shape attitudes toward such conflicts. Furthermore, the exhibition critically examines how images themselves can be appropriated and commodified, sometimes perpetuating stereotypes or biased perceptions. This invites a necessary dialogue about the ethics of representation, especially concerning vulnerable populations like immigrants and refugees who face xenophobia and systemic racism. Personally, encountering this exhibition during a period of global upheaval, such as the COVID-19 pandemic, heightened my awareness of how public spaces and social behaviors often reveal underlying prejudices. For example, recalling a moment in Toronto during lockdown when I was discouraged from resting on a public lawn, I realized firsthand how subtle acts of exclusion can reflect broader social tensions. What also struck me was the exhibition’s bold choice to highlight women's bodies as a pivotal symbol in discussions about peace-building and the future of conflicted nations. While this was initially uncomfortable for some viewers, it powerfully emphasized the essential role of life-giving forces and nurturing as metaphors for hope and regeneration. Through intense and evocative photography, the exhibition retraces historical narratives of ancient Canaan and Philistine peoples, linking past and present conflicts. The inclusion of children’s imagery symbolizes renewal and possibility amidst strife, offering a vision where future generations might transcend inherited conflicts. Ultimately, the exhibition challenges visitors to reconsider the ubiquitous images associated with war and violence, such as the depiction of the Twin Towers as bombed wells—inviting a more nuanced understanding of history and trauma. It stands as a poignant reminder that art and storytelling possess the transformative power not only to memorialize loss but also to inspire dialogue and change toward a more inclusive and peaceful world.
