Yves Scherer: Well I started making some works about the actress Emma Watson and my relationship to her when I lived in London, and from then on kept this interest in the idea of the "intimate stranger," when you feel emotionally or personally close to another person, who doesn't know you in return, just by following the news, Instagram and all these kinds of things.
I wanted to ask you about your relationship to that story and how it inspired you to make these series of works. Santiago Martínez Alberú: I vividly remember seeing your show Snow White and the Huntsman because it was one of those times that I saw my own deep specific memories and fixations-even fetishes-that I didn’t even know I had towards that affair, represented in a way that felt both familiar and voyeuristic.
I found myself constantly searching and saving him on Google and Instagram as his work became, for me, what it explores: an “intimate stranger,” someone I could reflect upon and idealize without ever having to confront or get to know, until this zoom call. I won’t even get started with Lana del Rey.Īnd as much as I was fascinated by our common fixations, I especially admired Yves’ diverse and complex body of work. Since then, I’ve followed Yves’ work as it held a mirror to my own obsessions with some women celebrities: Emma Watson was the first girl-crush I forced upon myself to mask my real desires for her male counterparts Kristen Stewart has appealed to my inner angst since stumbling upon Speak when I was twelve Lindsay Lohan is me if my moon was in Taurus and Kate Moss is, well, Kate Moss. It intertwined-both formally and conceptually-a fanfiction-becomes-reality narrative throughout various sets of works presented over installations at General Prim and Luis Barragán’s Casa Pedregal. The first time I encountered Yves Scherer’s work was in Mexico City in 2016 at his solo show Snow White and the Huntsman, which revolved around the affair between Kristen Stewart and Rupert Sanders.
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