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Mark Aerial Waller
In 2001 an event titled The Sun Set was hosted by London's artist-run space 1,000,000mph, in which Mark Waller screened the soap opera Sunset Beach for 15 hours non-stop.

Sunset Beach's (1997) fantastical turns made it one of the most innovative soap operas in American TV history. What made the programme truly original was its supernatural themes and heavily mythological dramaturgy. These featured superheroes, cursed jewels and a twist ending where the main protagonist wakes up realising the entire three years of the programme were only a dream. Epic time spans spread moments over weeks; by referencing other TV shows in sequences that showed, for instance, actors dressed as Charlie's Angels, it satirized itself and the genre .

These characteristics can be found in Waller's iconoclastic and witty practice. This is focused on video productions that stage poetic stories grounded on the concept of "surreality", in an attempt to invent new models of intellectual bricolage and time shift. Waller's work supersedes cinematic representation, conventional narratives and formal techniques. It explores arcane gateways between reality and fiction, transfigures the distinction between past, present and future, and eradicates any opposition between low and high culture.

Prior to The Sun Set, Waller invited fellow artists and writers to watch an hour-long episode of the series and write a text in response to either the structure or motifs of the soap, then collected in an accompanying booklet laid out like (soap) opera notes. Calling on a collective of loving friends or sun worshippers, whether through collaborative production or public gatherings, 'members' of The Sun Set were unaware of their integral part in The Wayward Canon. This was a screening platform for the re-evaluation of forgotten TV series, populist filmic genres or individual movies produced commercially with modest budgets, like Sunset Beach, or withdrawn from distribution, as in the unfortunate case of Dennis Hopper's tripped out western The Last Movie (1971). As an 'itinerant micro-salon' incorporating live performance and social collective experience, The Wayward Canon is, to this date, the complementary activity of Waller's artwork. It revisits an extensive range of anti-canonical cinematic forms and styles. Its aim is to stimulate a more critical understanding of productions that, having disrespected the conventions of their own genres, have been historically misinterpreted or kept into the shadows.

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