“WISH THIS WAS REAL” BY TYLER MITCHELL: A HOMAGE TO THE LIVES OF BLACK PEOPLE

“WISH THIS WAS REAL” BY TYLER MITCHELL: A HOMAGE TO THE LIVES OF BLACK PEOPLE

In his exhibition “Wish This Was Real,” Tyler Mitchell maneuvers us into a parallel reality — a reality in which Black people are not a minority. This was particularly important to the photographer and filmmaker, as he explained the day after his opening ceremony at a live artist talk with Christoph Amend (Und was machst du am Wochenende?) at the Delphi Filmpalast. At that very event, he painted a mental picture of Georgia and its capital, Atlanta. The state in the southeastern USA is known for its high number of Black residents. Atlanta occupies a special position in that, as Mitchell, who was born there, explains, African Americans are not relegated to the outskirts of the city, as is the case in other large cities, but instead make up the social core of the city, which is important in terms of civil rights. For the 29-year-old Mitchell, it is not just a matter of giving his home city a greater presence, just as important is giving his favorite artists a supra-regional platform. Practically an entire room of his exhibition is dedicated to these icons.

There are works by fashion designer Grace Wales Bonner and the multi-talented Gordon Parks, among others. Portraits of stars such as Steve Lacy and Donald Glover can be viewed in other rooms. Mitchell’s ambition to celebrate and disseminate Black art and real life beyond his own creations and experiences shows that the young artist is not only a renowned creator but a visionary. He dreams of a world that offers unlimited space for BIPOC. Strong Black communities are an essential concept of this vision and are therefore constantly at the forefront of his works. Bathing areas, backyards, gardens and houses are the setting for a familiar, intimate life — profound yet enduring snapshots that speak to the connections we all desire. The exhibition can be seen until 05.09.2024.

Text: Alishia Jackson / Credit: Tyler Mitchell / Installation view: Sophie Doering

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