Glasshouse, in its Brooklyn iteration, is a living/performing space, or better, a living labyrinth… This labyrinthine structure is important. Nothing is linear here: to tend is as much to navigate new openings as they emerge as it is to keep older ones in motion. To tend is to attend to how time becomes a field of duration, how time, as Lital and Eyal write, becomes “non-linear time – loop, parallel time, leaps, gaps” (2010: 252). Cinematic time. Performance time. For time is really what is at stake here: the time of the daily tasks – and the time of tasks interrupted, of dynamic form, the time of time folding on itself.
The above writing is part of an essay by Erin Manning, published in TAR magazine as a part of a special project about Glasshouse.