Alejandro Wasserreich — Art Is Everywhere

●THE PRODUCER, ON AN INTERVENED THRONE · MIAMI, FL

“I LET GO OF BELONGING TO CHASE WHAT I DIDN'T KNOW.”

If you look at things differently, things change. That's the whole method. It started with rhythm. 1993 — my uncle sat me behind a drum kit with one instruction: hit it like Bonham — Zeppelin, when everyone else was chasing whatever was on the radio. Everything I've made since carries that drummer's hand — heavy, loose, alive.

I don't call myself a photographer, a designer or a restaurateur — those are my session players. I'm the producer. What I bring is taste: knowing what a project is really about, and stripping away everything that isn't. A dead gym became Raval Warehouse. Rescued furniture became the identity of a block. Jazz sessions, vinyl nights, a temakeria under cinema seats — twelve years producing a scene, not running a restaurant.

Then came the eye. 1999 — a camera found at my grandmother's house, loaded with expired film. It taught me the lesson I've built everything on: curiosity finds the piece, criteria turns it into something else.

I proved it at my own risk in Buenos Aires. Now I do it in Miami.

DIFFERENT PROJECTS. SAME EAR.

THE RECORD.

1993 — 2021

1993●

THE DRUMS

My uncle, a kit, one instruction: hit it like Bonham.

1999●

THE CAMERA

Found at my grandmother's house, loaded with expired film. Taken to the streets of New York, LA and Miami.

2006●

THE WAREHOUSE

A boxing gym in the low end of San Isidro becomes Raval: used furniture rescued and reborn, upholstered with photography.

2008●

THE TABLE

Raval goes full gastronomy: restaurant, temakeria & cinema, terrace, sessions with vinyl and jazz. Twelve years of house sound.

2021●

MIAMI

Came for a break. The city had other plans. Everything since has been built here.

RAVAL WAREHOUSE.

CUSTOM FURNITURE · SAN ISIDRO, BA · 2006

The building was a two-story warehouse in the low end of San Isidro, Buenos Aires — a neighborhood of ironworks, boat-part shops and corner stores, low light at night, nobody around. Inside, world champion Sergio Víctor Palma — the first Argentine to win a boxing title on US soil — taught the locals how to fight. When the gym went up for sale, we took it. 2006: Raval Warehouse. Used furniture rescued off the street and sent back out swinging — pieces upholstered with my own graffiti photography, others handed to street artists and their cans. Every chair had a past life. That was the point.

01THE FIGHT POSTER STAYED · RESTORED ARMCHAIRS, VINYL-FRONT CABINETS, CANDLELIGHT

02THE BAR CORNER · CANDELABRA, CRATES, POP WHISKY

03MID-CENTURY FRAME, ANDEAN KILIM · ONE OF ONE

04THE SOUND CABINET · TURNTABLE, DRUMSTICKS, STENCIL WALL

05BLACK LEATHER, COWHIDE, RED CURTAIN · AFTER HOURS

06THE FLOOR, AFTER HOURS · FURNITURE SHOP OR GALLERY, NEVER DECIDED

THE TABLE.

HOUSE OF FOOD & NOISE · 2008–2020

Two floors, one world. Downstairs, the restaurant. Upstairs, the loosest invention: RAVAL TIKI & TEMAKI — serious sushi stripped of all ceremony, tiki cocktails in lab glassware, a screening room with salvaged old-school cinema seats, and a terrace under a palm. Very LA, in the low end of San Isidro. While the Warehouse ran, KNOCK opened in parallel — behind a closed door at our family workshop: mismatched tables and chairs, candles and iron, warm chaos, a dining room folded in among iron sculptures, vintage cars, custom bikes and a music studio. Chef Martin Lukesch at the stove. No sign, no listing. A restaurant you can't find is a restaurant you never forget.

01THE WHOLE BLOCK, TAKEN OVER · BIKES, SMOKE, AND A LINE THAT NEVER LOOKED LIKE A LINE

02FULL HOUSE, KITCHEN OPEN IN THE BACK

03THE CORNER EVERY PHONE PHOTOGRAPHED

04THE CLAY OVEN, NEVER OUT

05HAMBURGUESA RAVALERA® · HECHO EN CASA

06OLD FASHIONED, ORANGE PEEL · GLASS BY GLASS

07THE BAR, SHOULDER TO SHOULDER · MID-SERVICE

08RAVAL SESSIONS · THE HOUSE HAD A SOUNDTRACK

09DOGTOWN CORNER · POST NO BILLS

TWELVE YEARS OF NOISE. THE NEXT ROOM IS YOURS.

UNLISTED.

A RESTAURANT FOR ONE NIGHT

No address. No sign. No menu posted anywhere. Raval Unlisted builds a restaurant for one night, then takes it apart. The fire is the only permanent fixture. And somewhere in the smoke, Puesto 23: smash burgers, secret locations, no further comment.

01GRIDDLE OVER LIVE EMBERS · NO GAS, NO SHORTCUTS

02BREAD AT THE MOUTH OF THE OVEN

03BUILT BY HAND, EATEN STANDING

04PUESTO 23 · SMASH, NO ADDRESS

05OVER THE COALS · SMOKE DOES THE TALKING

PHOTOGRAPHY / ANALOG.

EXPIRED 35MM · NO SECOND TAKES

Circa 1999. Expired rolls the industry discarded — unpredictable color, real grain, zero presets. Shot with vintage Nikon glass across New York, Los Angeles and Miami: faces, attitudes, walls that talk.

01THE STOOP, HEAD DOWN · EXPIRED 35MM

02THE DOORWAY · EVERYBODY WAITING ON SOMETHING

03POTTER BAIL BONDS · 467-4477 · USA

04SUBWAY STEEL, LIGHTS RUNNING · NYC

05TWO OUT THE BACK · THE CHEMISTRY WENT GREEN · EXPIRED 35MM

06AIRBORNE · VENICE, CA

07THE PIER, GONE GREEN

08THREE PALMS, WASHED SKY

PHOTOGRAPHY / DIGITAL.

SHARPER GLASS · SAME EYE

The street, in high resolution. New York, Los Angeles, Miami — faces that never posed, signs that tell the truth. The camera changed. The eye didn't.

01USED TIRES ALL · MON TO SAT

02THE LOOK, MID-SENTENCE

03THE LAUGH · LEATHER & WOOL

04PINK BANDANA, BLUE CAP

05THE FLAG & THE GLANCE · USA

THE WALLS.

WHAT NOBODY SEES

06LEATHER COUCH, CURBSIDE · WHERE THE FURNITURE STORY STARTS

07WHO LEAVES THE TRACE?

08WALK · THE CITY SIGNS ITSELF

09TREE GONE, SHADOW STAYED

10THE COURTS · SMALL PEOPLE, BIG WALLS

THE MOTION.

SKATE · SUN · SHADOWS DON'T LIE

11OVER THE LIP, INTO THE SUN · VENICE, CA

12THE SHADOW LANDS FIRST

13DROPPING IN, TWICE

14ONE ARM TO THE SUN

15AIRBORNE OVER THE CROWD · VENICE, CA

ART / THE SEARCH.

CANVAS · CARDBOARD · NO MAP

Painting is where the eye stops collecting and starts making. No school, no map. It begins in black and white — bare gesture, both directions — and it drags the street inside with it: the cardboard, the words, the cube that keeps showing up.

01SKELETON ON CARDBOARD · THE CUBE FOLLOWED

02BLACK ON BONE · ONE DIRECTION

03BONE ON BLACK · THE OTHER

IF YOU LOOK AT THINGS DIFFERENTLY,
THINGS CHANGE.

THE WORDS.

THE SURNAME CAME FIRST · THE WORDS FOLLOWED

The paint speaks German. Böser Hund — bad dog, it warns. Lebendig — alive, it insists. Solide — solid, it promises. Nobody plans which word shows up. It depends on the day.

04BÖSER HUND · BAD DOG, IT WARNS

05LEBENDIG & SOLIDE · ALIVE, AND BUILT TO LAST

SIGNAL / NOISE.

STUDIO LANGUAGE, PAINTED

Twelve years of rooms full of sound leave a mark. Some canvases come out as signal — dials, meters, a machine with eyes. Others come out as pure noise. A producer needs both.

06THE SIGNAL · EVERY DIAL PAINTED BY HAND

07THE NOISE · TAKE ONE

08THE NOISE · TAKE TWO

OFF THE BEACH.

MIAMI · THE OCEAN SPITS IT OUT, THE WORK TAKES IT IN

The series that opened the Miami chapter. A piece of plastic the ocean gave up gets photographed exactly where it landed — then collected. The print gets framed, and the rescued object itself lives below it, sealed in an acrylic box. The photograph gives the object its power back. And every piece that hangs on a wall is one less piece in the sand.

09THE FORK & ITS SHADOW · THE SEA SETS THE TABLE

10A KNIGHT OFF THE BOARD

11THE RED DOT · FOUND, NOT PAINTED

01SHOT WHERE IT LANDED

02COLLECTED OFF THE SAND

03PRINTED & FRAMED

04THE OBJECT LIVES BELOW

ONE WALL AT A TIME,
THE BEACH GETS LIGHTER.

RESET 4 THE PEOPLE.

ISSUE 000 · 1,000 NUMBERED PATCHES

Everything in this portfolio was built once and stayed built. RESET 4 THE PEOPLE is that idea turned into something you can carry: a patch. One thousand of them, numbered by hand — Issue 000, the founding run. No countdown, no calendar. A mark that says you were early to something that plans to grow old.

00-1001FOUNDER ZERO · SEWN BY HAND, WORN FOR REAL

THE OBJECT.

Sewn, not printed — with a chip inside: tap it with any phone and the patch opens its bearer's world. Numbered 001 to 1000. There will never be another first run.

THE IDEA.

A reset: back to the hand, back to the object, back to belonging.

THE PEOPLE.

It's in the name. The patch doesn't finish anything — it starts whoever wears it.

NOT HYPE. THIS IS HERITAGE.

WHAT I BUILD.

DISCIPLINES ARE SESSION PLAYERS · I PRODUCE

Not a photographer who cooks. Not a chef who paints. A producer — of places, of objects, of nights. The disciplines walk in like session players: photography, furniture, food, spaces. They play when the track needs them. The record is the world they leave behind.

WORLDS.

Spaces and hospitality, built whole — the room, the light, the sound, the menu, the reason people don't want to leave. Twelve years of proof in one warehouse.

OBJECTS.

Furniture rescued and reborn — upholstered with photography, painted by hand, one of one. The couch on the curb becomes the chair on the cover.

IMAGES.

Photography from the street to the studio to the sand — and painting where the camera stops. The eye is the one instrument that never leaves the room.

NIGHTS.

A restaurant for one night. Fire, a shoreline, a table that exists once. Built, served, gone — the memory is the venue.

IT RUNS ON THREE THINGS

CURIOSITY — THE EYE.
CRITERIA — THE METHOD.
TASTE — THE CRAFT, EARNED OVER TWELVE YEARS OF FEEDING PEOPLE.

EXHIBITIONS.

THE WORK, ON WALLS · THREE CITIES

2011●

RAVAL STUDIO · BUENOS AIRES

First exhibition, own walls. The upper floor of the Warehouse becomes a photography studio and gallery — and the first artist shown is the house.

2013●

WARD NASSE GALLERY · NEW YORK

The work crosses the equator. SoHo walls, New York eyes.

2025●

OCULTO ART STUDIO · MIAMI BEACH

Art Basel week. The name says it right: hidden in plain sight.

2026●

P71 · MIAMI

The newest room. The search continues on fresh walls.

ALEJANDRO
WASSERREICH