Future Shock: Hamill Industries @180fact

Uploaded June 2022 | Updated September 2026, 2 weeks ago

Devised and engineered by Barcelona creative studio Hamill Industries and soundtracked by an original score from Floating Points, Vortex is an interactive light, smoke and sound installation that generates a series of smoke rings, suspending our sense of disbelief and disconnecting us from our surroundings by visualising how music travels through air.

Currently installed at Fact and 180 Studios’ new exhibition Future Shock, Vortex is one of the first pieces encountered as you enter the subterranean spaces underneath London’s 180 The Strand. Originally conceived for the 2016 edition of Barcelona’s digital arts festival, MIRA, the installation reacts to sound and generates an increasingly complex sequence of light patterns.

“We really wanted to work with smoke and haze as a possibility of making invisible forces visible,” says Hamill Industries’ Anna Diaz, who works alongside her creative partner Pablo Barquín. “We were trying to think about an installation that would be able to reproduce, or at least give a sense of how music can travel trough space.”

In this film, Fact talks to Diaz about the genesis of the piece and how it was inspired by Barquín’s interest in fluid dynamics. Diaz also explains the experiential ethos of Hamill Industries, whose videos and installations – including their frequent collaborations with Floating Points – aim to add an immersive tangibility to audiovisual art.

Vortex is showing now at Future Shock, at 180 the Strand, London. Future Shock runs until 28 August, 2022.

For tickets and information on opening times, visit the 180 The Strand website: 180thestrand.com/future-shock

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$spalarnia - Rozkosz As spalarnia, performance artist Wojciech Kosma makes experimental pop music with an explicitly queer, secular and anti-nationalist flavour. Seeking to dismantle outdated notions of division between eastern and western Europe, Kosma interpolates Polish folk music as the foundation of his sound, using trap percussion, drill bass, eurodance synthesis and an ear for irresistibly melancholy hooks to craft a singular take on traditional musical forms. On his second album, USTA, spalarnia addresses love in its various refractions, exploring lust, desire, sensuality and intimacy through evocative lyricism and exploratory sonics. “I wrote these songs thinking what would happen if I didn’t look for love, but sang as if it was already here,” explains Kosma. “I felt that it’s not true that love is supposed to be missing, that you have to wait for it. It’s been always here, it’s happening, in insane amounts, and it makes the world, at least my world.” On ‘Rozkosz,’ a slow and sensual highlight from the album, Kosma groans through an electronic dirge charged with longing, a quivering homage to overwhelming and all-consuming moments of pleasure and delight. Mixed by James Whipple, better known as M.E.S.H, Hesaitix and now EEA, ‘Rozkosz’ finds erotic tension in the interplay between throbbing low-end, sparse percussion, synthetic strings and primal flutes, coaxing lip-biting melodies out of negative space while Kosma’s foundation shaking baritone pins the track back down to earth with visceral heft. For the ethereal visual artist Ewelina Węgiel worked alongside movement artists Luisa Mateo Dupleich Rozo and Monika Błaszczak to collaborate with Kosma, illuminated against the dramatic backdrop of Kletno Bear Cave, the longest cave formation in the Śnieżnik Mountains. Filmed using both digital and 16mm film, the film uses pale light and expressive movement to collapse the wet walls of the cave into the same texture as glistening skin and soaking fabric, a portrait of lovers slick with sweat and rock worn smooth by condensation. Perspiring stone protrusions are viewed with the same amorous gaze as necks upturned in ecstasy and fingers grazing outstretched arms. Milky stalactites drip onto expectant faces, calcium deposits formed over hundreds of years take on the sensual form of smooth bodies, while craggy rock faces layered against each other in photographic assemblage suggest biological mutations, organic matter bursting at the seams, desperate to spill over into new, more expansive, forms. This desirous overflow reflects the yearning of Kosma’s lyrics, who follows a churning repeated refrain of “too much” with the assertion, “there’s never too much,” begging the question, “why see with eyes if you can see with delight?” Just as centuries transform cave formations, hewn through mountain ranges with crushing patience, so too does the pressure of spalarnia’s desire have radically transformative potential, as he sings: “under the cover of delight, delight / I want to be your husband and wife.” ‘Rozkosz’ is taken from USTA, which is out now. For more information about Wojciech Kosma and his work as spalarnia, you can follow him on Instagram. ‘Rozkosz’ Credits: Directors – Ewelina Węgiel, Luisa Mateo Dupleich Rozo, Monika Błaszczak & Wojciech Kosma Performance – Luisa Mateo Dupleich Rozo, Monika Błaszczak and Wojciech Kosma Camera – Ewelina Węgiel Editing – Ewelina Węgiel and Wojciech Kosma Color Grading – Igor Kawecki ‘Rozkosz’ Lyrics: too much too much too much too much of you there’s never too much too much too much too much too much never too much of our delight delight delight covers me right fine fine i can see fine sky sky sky sky sky through the thin veil of delight why see with eyes if you can see with delight under the cover of delight delight i want to be your husband and wife please please take my hand our beauty might make me break take me take me as husband as wife for you i’m alight yet i’m not at all alight i am a happy oasis of green no other place like you and me why see with eyes if you can see with delight – dosyć dosyć dosyć dosyć nigdy nie mam ciebie ciebie dosyć dosyć dosyć dosyć dosyć nigdy nie mam dosyć naszej rozkoszy rozkosz rozkosz całkiem mnie przykrywa dobrze dobrze dobrze dobrze widać niebo niebo niebo niebo niebo przez rozkoszy cienki welon po co patrzeć przez oczy jak można patrzeć z rozkoszy pod rozkoszy rozkoszy zasłoną chcę zostać twoim mężem i żoną weź proszę moją moją rękę z naszego piękna piękna zaraz pęknę weź mnie weź mnie za męża za żonę dla ciebie płonę chociaż wcale nie płonę jestem zieloną zieloną oazą szczęścia oprócz nas nie ma takiego miejsca po co patrzeć przez oczy jak można patrzeć z rozkoszy$

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