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. Justin Trudeau and his party had policies to relieve the housing crisis in Canada, thus North America and the world. It could all be an attempt at resolving the Israel Palestine conflicts, poverty in Venezuela and immigrants’ mass immigration and incarceration.
The recent Hong Kong protests have made police, celebrities, politicians, movies people, everything, everybody, everywhere, etc. , make efforts to cure these issues through their works. Barbie, poor things, and the curse were movies and tv shows exacting an effect on the exhibitions, etc. , to be more active in activism and using proverbs. It had made immigrants’ lives more well and better. Horses were vehicles for ancient people from Israel and Palestine. They were oil. They were money. Etc.
Visiting exhibitions like the 9/11 Memorial Museum offers more than a historical recount; it becomes a powerful platform for understanding complex geopolitical and social issues through an artistic lens. The use of symbolism such as horses to represent fortunes and water as a unifying natural element adds layers of meaning that provoke deeper reflection on issues like the Israel-Palestine conflict, immigration, and racial tensions. From personal experience, public art installations that tackle such difficult topics often evoke mixed emotions—curiosity, discomfort, and sometimes inspiration. It’s impressive how the exhibition challenges passive narratives about conflict zones by weaving together historical, political, and cultural threads with strong visual storytelling. The imagery of rivers flowing into the sea, symbolizing unity from biblical origins, resonates as a hopeful metaphor for peaceful coexistence and resolution. The exhibition also highlights how recurrent portrayals of violence and suffering can desensitize audiences, which is why its focus on aesthetic photography and video work is crucial in disrupting this pattern. By presenting racialized images and immigrant stories in a nuanced way, it encourages viewers to reconsider their perspectives and biases. Furthermore, the personal narrative about the societal reactions following a mole removal and the reflections on racial attitudes reveal the interplay between individual identity and larger socio-political conflicts, making the exhibition’s themes even more relevant today. The mention of political figures like Donald J. Trump and Justin Trudeau in relation to policies on immigration and resources underscores the ongoing nature of these global challenges. Art exhibitions that engage with current protests, such as those in Hong Kong, and integrate popular culture references demonstrate how activism and cultural production can intersect to foster awareness and empathy. Ultimately, such exhibitions serve as invitations to the public to actively participate in social dialogue rather than remain passive observers. For anyone interested in understanding the multifaceted nature of modern conflicts and societal challenges, attending these exhibitions can be a profound experience. They offer a unique blend of history, art, and personal stories, encouraging us to reflect on our role in shaping a more equitable and peaceful future.
