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One Hundred and Eighty Degrees is a look into the second half of the 1960s and the first half of the 1970s in Spain through some of the key artists of that period. This was a time marked by continuous experimentation and expansion of limits with overflowing energy that broke barriers transforming daily life while imagining a better new world and a future with a capital “F”.
This project set sight on that future posed as possible during this time but which did not fully come true; a freer, fairer, and more beautiful life. (Labrador, 2017).
Therefore, One Hundred and Eighty Degrees is not an attempt to return to what that period was, but rather to what it could have been; what the British cultural theorist Mark Fisher defined as lost futures. Thus, this project has more to do with our present and the non-acceptance of some aspects of it, than with the time to which it refers.
One Hundred Eighty Degrees reminds us that it is possible to imagine a future because there was a time when it was imagined, using the past to question what is absent in our time. Therefore, it’s not a revival, without any reference to current reality, but rather an interest in the expectations and dreams of a time when imagining a better future was possible.