Temporary Custodians: Day 3

For Maurice Carlin the Performance Publishing process he uses for the ‘Temporary Custodians’ installation where the production process normally kept hidden from view is made viable via the live streaming but anyone can also visit the 5th Floor each day and see the installation taking shape.

Today we have focused just on the GoogleHangout Call Icons or Thumbnails where Maurice Carlin has given each ‘call’ a name.  Maurice Carlin first started to use GoogleHangout as part of his practice 3 years ago as part of a residency with students from the Royal Academy. We later used it to document the Islington Mill residency at the Black-E in Liverpool during the Liverpool Biennial in 2014. Now as part of his current practice & process, his use of the Googlehangout creates an interesting perspective on the documentation of each day’s progress. This video features the 9 thumbnails capturing different angles of the days work laying down 100 sheets of white paper.

Maurice is using borrowed every available iPad, old laptop, webcam and phone available from artists across the building to give the 9 views that the googlehangout conference call produces. In Day 3’s documentation the devices drop out more regularly and the overall quality of the images is more fuzzy but all of this is part of the work.

‘Publishing’ the space via the online streaming of the production of the work was always an integral part of the ‘Performance Publishing’ series of works that Morry began in 2013. An idea of a ‘public’ being formed around the common experience of a time, place, an artwork or a set of ideas or information presented in a way we process in someway formed the conjoined pillars of the analogue and digital in Maurice work.

The limitations and qualities of digital streaming or publishing has always been a key part of the performance publishing works. While Facebook and our access to the internet has enabled us to self publish all aspects of our lives like never before, it also raises a question about the quality of the information we receive. What have we really experienced when we watch a YouTube clip of a performance or ephemeral event? What happens to your perception of space and scale when you stream a 10,000 soft warehouse and then experience it on a phone screen smaller than the palm of your hand?
How much information is lost, what is the quality of the experience, from what view point are we seeing the work, and what is the difference between seeing it first hand and seeing it digitally?

The print process it self is an analogue reflection of this. In it is the most basic form of publishing and printing. Using the stone floor as a print plate and a screen printing squeegee ink is pulled over the surface with seemingly little skill. The ink picks up only some of the detail of the floor below. Pooling in some areas where the floor has deeper holes in it and being scrapped back off where the resistance is higher. The psychedelic high contrast results could simply be abstract interpretations but they add technicolour to some perhaps previously unseen details while ignoring other and creating a distinct impression that can only be made from this particular part of the floor.

Temporary Custodians of Islington Mill 2018 – 2028

Explore this project more fully on our site & beyond using the links below, and please help us spread the word by sharing widely with your online networks.

All films including the Full Day streams in real time, the sped up X60 edits, thumbnail crops and other documentation is archived on the Temporary Custodian Youtube Channel here.

Full description and information on the project is available via a downloadable pdf catalogue.

For press enquires contact Greg Thorpe at

For sales enquiries contact Lucy Lloyd-Ruck at

Full details on our entire fundraising campaign can be found here.

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