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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.
In 2019 I removed a mole on my face for worries of cancer. It had made my life change in a drastic way. People I didn’t know suddenly became familiar with me. People I used to know acted in a strange way such as distancing themselves, social media blocking and not talking. It was all very sudden to me. Etc.
Visiting exhibitions that deal with complex global conflicts and social issues can be deeply moving and eye-opening. The use of symbolism, such as horses representing fortunes, opens a unique gateway to understanding the intertwined histories of people living through these struggles. The artistic portrayal of Israel-Palestine conflicts and immigration challenges us to rethink habitual perceptions and the political narratives we often accept without question. From my own personal walks during tough times, like the pandemic lockdown, I have come to see how visible social tensions manifest in everyday places. Observing instances of exclusion and prejudice, such as being chastised for resting on a public lawn, echoed broader societal issues like racism and the struggle for empathy in urban environments. These experiences highlight that the themes presented in the exhibition are not abstract but deeply relevant to our daily lives. The exhibition’s focus on the metaphor of rivers flowing into the sea to symbolize peace efforts between Israel and Palestine is especially striking. It points to the potential for unity and harmony originating from shared histories and natural connections. Incorporating the idea that children can inspire hope amid conflict also serves as a powerful reminder of resilience and the future’s promise. Furthermore, the artist’s candid sharing of a personal health journey involving mole removal sheds light on the unpredictable social responses that can accompany life-changing events. Such personal narratives enrich the public discourse about identity, vulnerability, and human connection within contentious socio-political contexts. Ultimately, the combination of intense aesthetic values, historical insights, and personal storytelling paints a fuller picture of conflict zones—moving beyond death and destruction to explore hope, healing, and the reevaluation of deeply ingrained perspectives. For anyone interested in art’s ability to foster dialogue about refugee experiences, racial equality, and geopolitical strife, exhibitions like this offer invaluable perspectives and provoke meaningful reflection.
