the above artwork was made by Californian artist/architekt Falco,
it played a central part at the the closing wasdag as a present,
in the form of a ceiling wide fresco, of the wasdag-group to the dwh,
it hung there till summer '07
it would have stayed up longer (coz everybody was fond of it),
but originally the then dwh board was very much frightened
by the announced nudity and sexual explicitness of the piece,
so the construction was made for a temporary installation only
and had to be taken down when it began to sag.
It is now up on my arched bedroom ceiling.

the last wasdag èver was on monday december 4th 2006 the ceiling painting you see above in 4 sections stayed up at LG22 ( full size 4 x 7 meter) until summer '07 on monday december 6th 2010 brainstorm talk sessions start to get a new wasdag to resurface as a major annual Zuid Holland real-men sex-and-dance-and-more event. it will take place at Hal C in Delft, very near an NS station and with nighttrains close by. Block this date in your agenda: saturday july 9th 2011 do send a short message if you want to be involved or in some way be part of the most outrageous/art/sex/dance/pool/play events of 2011. You'll then be reminded of the misscieve we're up to shortly and periodically. meanwhile you can keep your eyes on this page for all devellopments too . . . until then the only spot for outrageous parties in NL remains Club Church in Amsterdam ! but you can also go cruise at de Boss between Den Haag en Rijswijk CU there

elegy long orchestral version

exerpts and quotes from 'the Swan King' by Christopher McIntosh, 2003. page 17: with the departure of nanny Sybille Meilhaus in 1854 Ludwig lost perhaps the healthiest influence of his formative years. The plan for Ludwig's education decreed that she must go and his teaching henceforth were based on intellectual saturation and emotional starvation: stiff, restrained, it kept him trapped in the hothouse world of his own mind, which in the end became more real to him than outside reality. page 18: Age 12 he wrote: Vanity is the consequence of flattery. Being surrounded by people who know nothing but that, leaves one prone to egotism. The vain man might be said to have a poisonous snake gnawing at his heart. he was told by teacher la Rosée: if evil tendencies come up again, suppress them. With a strong will you can supress anything. This can only lead to what we now feel is highly damaging sexual repression, which drove him further into the world of fantasy. page 41: Now I jump to the year he befriended Wagner: two individuals widely spread in age, rank and cast of mind. Both egocentric, arrogant, temperamental. An explosive recipe, and explode it did, but their relation lasted nearly 20 years. Europe was in turmoil. IN many countries monarchies had tumbled. In NL we'd had an also partly homosexual king William II (subject to blackmail on that issue) who was forced to underwrite a new constitution where his position as absolutist ruler by divine right was changed towards a far more symbolic role. The same had happened with Ludwig's grandfather Ludwig I, who after a politicised affair with a heighly public mistress Lola, was forced to abdicate in favor of his son king Maximilian II. When Ludwig II still was crown prince he first settled Wagners debts in 1864 and gave him an almost royal dwelling to enable him to work on his music. The sums used were considerable, and many drew critical comparisons between the nepotism seen by both grandfather and grandson Ludwig, especially as Bavaria was embroiled in some desastrous and costly wars. page 43: it was at Berg where Ludwig and Wagner spent a kind of honeymoon during may/june of 1864: "the young king is just minits away from me. He has me fetched every day. I read my work to him and he asks eagerly for explanations and shows great powers of comprehension, involvement, staggering attentiveness, and his beautiful features register deep sorrow or great joy depending on how I afffect his moods. "

page 46:
Wagner: "wretched people move about like unconcious machines in the ordinary ruts of theatrical and musical routine, it's often enough to drive me to flight from the world . . . Artistic schools and musical conservatories are unproductive because they're institurions of a pityful proletariat, but we must tread carefuylly in order not to step on the toes of bourgois' vested interests.
Ludwig's response struck a more cautious note, but agreed:
Most men of our time are pre-occupied with money-making aims and have greatly deminished sense of the splendour of true art, but he agreed to be apprehensive about resistance from the artistic proletariat. Not only music teachers were alarmed, or felt their position threatened, also the purpose of Wagner's costly theatrical innovations, like the sunken orchestra pit, were for a very long time not recognised, but did irritate, if not infuriate some of the most renowned architects as well. page 65:
If if he childishly lost himself in reviery of Wagners fantasy enactments, Ludwig did see his value and wrote to Cosima: Let's take a solemn vow to do all in our power to preserve Wagner the peace he has won, to banish every grief of his, free his mind from low worries, to enable his devine productivity. O, he is godlike, Godlike! My mission is to live for him, to suffer for him. if that is necessairy for his full salvation . . . Still Ludwig was just as often seriously annoyed with Wagner, even if disagreements were often stirred by sceming court officials and politicians. In his early years Ludwig showed shrewd independence and royal dignity and would never allow his political judgement to be exploited, not even by Wagner.
He wrote to Wagner after he Cabinet decision that Wagner had to leave Munich:
Dear Friend,
Much as it grieves me, I must ask you to comply with the wish I communicated through the cabinet secretary. Believe me, I had to act the way I did. My love for you will never die and I beg you to retain your friendship for me and never doubt the fidelity of your best friend.
Untill death,
your faithful Ludwig

page 87:
To Sophy, the bavarian princes to whom he was engaged (forced by court and family), but postponed the marriage twice and then cancelled he wrote:
I felt pressured to enter into this, but now I had time to reflect I see my true brotherly love for you remains, but is not the kind trequired for matrimony. I owe you this explanation and ask for the continuation of our friendship. Please release me from my previous word without rancour or bitterness.
which shows someone far from mad, but aware of his damned preferences, and trying to be as honest and sincere as 19th century conventions allowed. Above statue was found in the 1620s in the moat below the Castel Sant'Angelo, Rome, which in antiquity had been Hadrian’s Mausoleum. It was traditionally asserted that Cardinal Maffeo Barberini commissioned Gianlorenzo Bernini to restore the statue, but there is no evidence that Bernini was in any way involved with the statue, which was housed in the Palazzo Barberini, Rome, until it was sold in 1799 to the sculptor and restorer Vincenzo Pacetti. The restorations of the Barberini Faun may have enhanced the sexual aspect of the statue. Because of this, the statue has acquired a reputation as an example of homoerotic art. Nudity in Greek art was nothing new; however, the blatant sexuality of this piece makes it most interesting to twentieth-century eyes. His wantonly spread legs focus attention on his genitals. Not all viewers have found the Faun so indecorous: it was bought by Ludwig Ist, Crown Prince of Bavaria. Our Ludwig's grandfather had planned a special room in the Glyptothek designed by architect Leo von Klenze before the purchase was even finalized, and it was in place by 1827. The Glyptothek opened in 1830 to house Ludwig's sculpture collection. (source wiki) On below Ludwig collage by Falco the king's sword is pointing to the faun sculpture.
page 131
of course Ludwig was as obsessed by the grail saga and it's links with christendom, the jewish religion and the devinely inspred stuggles against the heretic muslims and saw himself in his reveries as having a god-given role to play in conserving these traditions for the good of his subjects, but never in the agressive way, as later adapted by the nazis. Rather more like the playful dreamery we also encountered in Indiana Jones and the holy grail.
Nevertheless we may praise ourselves lucky that many of the artists and architects plainly refused to execute some of the more radical plans of Ludwig, like having a waterfall flowing left and right of the main staircase leading to the throne room in Neuschwanstein. Also Ludwig wanted many of the artwork surrounded by loads of swastica symbols, both of the classic indian and western design, as we find them often drawn in his personal notes of the building project.