The series 54 streams is a memoir to the 54 hidden streams of Asunción, the artist’s birth-city. According to the historian Juan Bautista Gill, in the 19th century, paved streets were built on top of the 54 streams of the city and its surroundings. On a day-to-day basis, these streams are silenced but become noticeable with almost every storm as strong torrents, bringing destruction not only to streets but even taking lives.

The artist collected the base images from different internet platforms (some images are pixelated or of low resolution), corresponding to strong torrents that flood the streets with every torrential rain. Such images were digitally intervened by the artist; she extracted the entire built environment, as well as the objects dragged by the flooding waters. The resulting images reveal the great momentum of torrential rain, and allow the audience to imagine the imagine fifty-four gentle streams that are hiden under the city of Asunción. 

The series 54 streams was part of the project Cartographies of Disobedience, a series of investigations held in Asunción, that proposes a reflection on some urban and environmental conflicts from modern cities, and the responsibility of each person as an actor involved in the processes of urban transgression and deterioration.

The series 54 streams is a memoir to the 54 hidden streams of Asunción, the artist’s birth-city. According to the historian Juan Bautista Gill, in the 19th century, paved streets were built on top of the 54 streams of the city and its surroundings. On a day-to-day basis, these streams are silenced but become noticeable with almost every storm as strong torrents, bringing destruction not only to streets but even taking lives.

The artist collected the base images from different internet platforms (some images are pixelated or of low resolution), corresponding to strong torrents that flood the streets with every torrential rain. Such images were digitally intervened by the artist; she extracted the entire built environment, as well as the objects dragged by the flooding waters. The resulting images reveal the great momentum of torrential rain, and allow the audience to imagine the imagine fifty-four gentle streams that are hiden under the city of Asunción. 

The series 54 streams was part of the project Cartographies of Disobedience, a series of investigations held in Asunción, that proposes a reflection on some urban and environmental conflicts from modern cities, and the responsibility of each person as an actor involved in the processes of urban transgression and deterioration.

The Asphalts series is an installation deployed on the floor of the room, with fragments of asphalt and urban trails collected by the artist after several floods in Asunción. Here, Baumann is committed to the careful gathering and arrangement of a number of real visual and object signs dragged by the floods; the objects compose a new sign, which is both plural and suggestive, to arouse a denser perception of reality. Thus, the pieces acquire, in the context of the exhibition, a new and unpredictable life. 

The Asfaltos series is an installation deployed on the floor of the room, with fragments of asphalt and urban trails collected by the artist after several floods in Asunción. Here, Baumann is committed to the careful gathering and arrangement of a number of real visual and object signs dragged by the floods; the objects compose a new sign, which is both plural and suggestive, to arouse a denser perception of reality. Thus, the pieces acquire, in the context of the exhibition, a new and unpredictable life. 

Photograph of a pair of rails belonging to old tram tracks that went around long ago in Asunción, leaving only a testimony of unused iron beams partly covered by asphalt.

The title of the photograph Oparei is a Guarani term meaning "ending in nothing”. The term is commonly used to refer to an unfinished work, or an unfinished action, which is characteristic of Asuncion’s urban planning. 

Photograph of a pair of rails belonging to old tram tracks that went around long ago in Asunción, leaving only a testimony of unused iron beams partly covered by asphalt.

The title of the photograph Oparei is a Guarani term meaning "ending in nothing”. The term is commonly used to refer to an unfinished work, or an unfinished action, which is characteristic of Asuncion’s urban planning.

“Art” installations from the streets of Asunción, found while researching for the project Cartographies of Disobedience.

(Agregar fotos polaroids)

While researching for the project Cartographies of Disobedience, the artist photographed urban installations found on the streets of Asunción.

Ana collects situations from the public space on her way to and from the city. She recollects abandonment, neglect, destruction, danger, confinement. Rarely does she risk her safety. Yet she also photographs the kind and hopeful gestures that speak to us of inhabitants who refuse to give up in the face of deterioration and horror. - Mónica González

Ana collects situations from the public space on her way to and from the city. She recollects abandonment, neglect, destruction, danger, confinement. Rarely does she risk her safety. Yet she also photographs the kind and hopeful gestures that speak to us of inhabitants who refuse to give up in the face of deterioration and horror. - Mónica González

Photographic records of interventions carried out by the artist in the chilhood neighborhood.

As a starting point for this investigation, the artist consulted the website of a local newspaper -a space where the citizens can make public complaints-. She visited the mentioned places after a year, and intervened the broken pavement with painting, with the intention to mark off these urban scars and to leave small gestures for the passers-by.

Vagrant Micropolitics I was held upon the artist’s participation in the formation and residency program Invernadero. Art-Politics-Experiment, held at the Juan de Salazar Spanish Cultural Center in 2017 with investigations around the concept of “territory”.

Ana realizó Micropolíticas Vagabundas I luego de su participación en el programa de formación y residencia Invernadero. Arte-Política-Experimento, realizado en el Centro Cultural Español Juan de Salazar en 2017, con investigaciones en torno al concepto de “territorio”.