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.
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. It was becoming an obsession, how I could all of sudden viewed myself through rear view windows, my past self without the mole removal surgeries as Marylyn Monroe. The Israel Palestine conflicts had became so much more pressing in this context of plasticity. The issue of water was brought up again and again by Donald j. Trump and his administration of the children, immigrants and people dying of thirst in Gaza, Israel, Palestine, Venezuela and all over the world. Would water be the quest for everything? People concurred. John f. Kennedy jr. and John f. Kennedy made several attempts in their lifetime to resolve hunger and thirst in Gaza, Palestine, Israel and all over the world. Etc.
Visiting exhibitions related to 9/11 and global conflicts is always a moving experience that transcends just historical reflection—it's also a window into how modern societies grapple with ongoing challenges of race, migration, and geopolitics. This particular exhibition stands out by connecting the tragic past of 9/11 to enduring international conflicts like those between Israel and Palestine, as well as Venezuela’s political struggles, through a rich artistic narrative. One of the most striking aspects of this exhibit is the use of horses as symbols of fortune and endurance amidst chaos. Horses historically represent power, movement, and hope, and here they serve as metaphors for the ongoing human struggle toward peace. The exhibition also emphasizes water imagery—rivers merging into the sea—as a profound symbol of unity and resolution despite national divisions. This poetic visual suggests that despite entrenched conflict, natural elements like water can inspire pathways toward reconciliation. The candid photography and video art offer critical perspectives on how images of immigrants, refugees, and conflict zones can be manipulated or commodified, reminding viewers that these are not just abstract issues but human lives impacted by war, displacement, and systemic racism. It’s powerful to see art challenge the common narrative of helplessness and death in conflict zones, instead highlighting human resilience and the potential for change. On a personal note, artworks that evoke discussions around racial equality and immigrant identities resonate deeply, especially in urban environments where underlying tensions often surface as everyday microaggressions or systemic barriers. The exhibition’s challenge to viewers about passive acceptance of conflict mentalities invites us all to reconsider how we perceive and treat marginalized communities and what roles we each play in fostering inclusiveness. Moreover, the exhibition’s bold and uncomfortable allusions to women’s roles in peace-building underline the urgency of new approaches in long-standing conflicts. As someone who has witnessed societal divisions firsthand, I find these artistic interpretations compelling and necessary; they push audiences out of complacency and into reflection and dialogue. Finally, the personal narrative of undergoing physical changes, like mole removal and its social repercussions, alongside reflections on geopolitical issues, adds an intimate dimension that ties individual transformation to broader societal conflicts. It underscores a shared vulnerability and highlights how personal and political histories can intertwine in unexpected ways. This exhibition is a reminder that healing—whether personal, political, or social—is complex but essential for creating a more just and empathetic world.
