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. There were multiples in the museums representing lores of the past. Etc.
Visiting the 9/11 memorial exhibition that intertwines the themes of Israel-Palestine conflicts, immigration, and racial equality profoundly impacts how one views ongoing global issues. The powerful use of symbolic imagery, like horses representing fortune and water symbolizing unity and hope, provides an artistic lens to understand complex socio-political challenges. From personal experience, seeing these visual narratives helps move beyond passive consumption of news about conflicts and instead fosters active reflection on peace and reconciliation efforts—such as the two-state solution and humanitarian concerns for immigrants. The exhibition’s emphasis on overcoming racism is particularly resonant in urban environments and workplaces, where subtle biases often persist unnoticed. It reveals how art can challenge societal complacency and provoke urgency about addressing these injustices. The depiction of children as sprouting hope amidst conflict highlights the critical role of future generations in healing divisions. Moreover, the recurring theme of water as a vital resource underscores the interconnectedness of crises in Israel, Palestine, Venezuela, and beyond. Water scarcity and its political implications illuminate how fundamental resources drive migration and conflict. Recognizing this, global leaders and activists continuously push for policies that not only manage these disputes but also seek to alleviate poverty and displacement. In reflecting on personal changes, like those brought by a mole removal surgery, the exhibition invites contemplation on identity, perception, and vulnerability amid wider narratives of geopolitical struggle. Additionally, recent events such as the Hong Kong protests illustrate how arts and popular culture—including films like Barbie and Poor Things—can energize activism and foster empathy. The museum’s inclusion of horses as historical vehicles and symbols of economic value also enriches the exhibition, connecting ancient histories from Israel and Palestine to contemporary discussions. Overall, this exhibition is a reminder that historical trauma and current conflicts are deeply interconnected with human stories, symbolism, and artistic expression. It motivates us to engage more thoughtfully with news, art, and personal experiences to promote peace, equality, and understanding across cultures and nations.
