Proscenio (The Truth About Glowman) unfolds in two acts across Tönnheim Gallery, bringing together Fausto Amundarain’s sculptural and pictorial universes into a single immersive narrative. The exhibition reveals the dual nature of a practice that moves between intensity and fragility, visibility and exhaustion, an arena where the figure of Glowman appears and disappears, leaving behind a light that must be reactivated each time it encounters its audience.
The sculptural chapter forms a kind of backstage: structures, accumulated materials, and remnants of process that operate as counter-shapes to a body constantly at risk of overexposure. These works behave like props, traces, and thresholds, small architectures outlining a circular space the viewer is invited to enter, echoing the artist’s call to inhabit rather than observe, to sense the tension between producing work and sustaining one’s own visibility.
Meanwhile, the paintings act as a rotating ensemble of performers, watching and being watched. Installed as if waiting to be flipped, activated, or revealed, they bring forward the cycles of brightness and burnout that those who work in the arts are subject to. Together, both parts of the exhibition offer a reflection on desire, pressure, market, and presence: a stage where the artist perseveres, adjusting the light without ever leaving the act, and where the viewer is finally asked to step out of the audience and into the circle.
Currently on view at
@tonnheimgallery Madrid
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@nicotappero 
