Maurice Carlin: Performance Publishing @ Regent Trading Estate, until 20 Jul

Over several months, Maurice Carlin has been producing variations on his Corrupted Images, whereby he takes a printed reading from a surface, publishing it simultaneously. In this, Carlin uses a technique inspired by some of the most ancient forms of printing and publishing: drawing a huge squeegee across paper, dragging paint in CMYK over the bumps and dips beneath, and generating psychedelic images that record some aspect of their site.

Previously, Carlin has taken Performance Publishing to Manchester's Market Street, where buskers and street performers congregate, with passers-by of every conceivable kind constituting an audience predisposed to engage with spectacle. His current residency at the Regent Trading Estate – the cavernous warehouse in which Carlin is to make his prints and take his readings – is not so intrinsically public, and so he has devised an assortment of channels through which the work will be published and made available for consumption. For example, there is a live stream hosted on the internet, via Carlin's site, so that viewers anywhere are able to observe and leave anonymous comments. Comparable, perhaps, to the way Performance Publishing has formerly been situated in among the hustle and bustle of everyday life, Carlin's live stream is hosted in the midst of those linking to pet daycare and holiday homes. This, the artist comments, is appropriate to utilising the internet as a means of publishing, where wild juxtapositions are commonplace, whether by the results of a search engine, oft-bizarre targeted advertising, or an accident of hosting.

The other methods of publishing utilised for this residency include a project inspired by ARTnews' 1950s series Paints a Picture, whereby five writers are invited to respond to Carlin's work as it happens, along with an eternally scrolling webpage where the prints will be uploaded.

At an inaugural preview for the residency, Carlin's various publishing conduits were poised for activation, with a pallet of paper in the centre of the warehouse – observable from a handy mezzanine viewing platform – the only clue. It remains to be seen what this latest incarnation of Performance Publishing will reveal and develop about the project, and whether it will prove as successful as previous expressions. What is certain, however, is that there will be fascinating alterations made to the Regent Trading Estate itself, as Carlin's vivid Corrupted Images are produced and begin to cover the vast floor of this distinctly industrial space.