#Fish Griwkowsky

[jmsepulvedaperez]

Thunderbird Stadium (Edgefest), Vancouver, BC, July 14, 1999.

📷 Fish Griwkowsky

[artwalktv]

World Premiere: 2020 Outfest Fusion, Los Angeles A young Indigenous musician and his rock band bring mumblepunk to the Interstellar Rodeo. A rock 'n' roll survival story of a different stripe. More info at https://bit.ly/2X2fU1Q STARRING ⭐️ Jesse Jams Lyle Bell Emma Frazier Chasm Frazier Curtis Ross Christan Maslyk Adam Martz DIRECTOR Trevor Anderson PRODUCED by Alyson Richards & Trevor Anderson EXECUTIVE PRODUCERS Alex Lazarowich & Penny Frazier CO-PRODUCER Katrina Beatty SUPERVISING PRODUCER Christina Willings CINEMATOGRAPHER Mike McLaughlin 1ST AC: Emily Bruinsma SOUND RECORDIST Micah Henry STILLS/COMPOSER/GRAPHICS: Lyle Bell EDITOR Sarah Taylor ADD’L CINEMATOGRAPHY Lindsay McIntyre & Christopher Herbert ADD’L STILLS Emily Bruinsma & Fish Griwkowsky COLORIST Julien Mailhiot-Guyon, Post-Moderne RE-RECORDING MIXERS Keith Elliott & Shaun Gratto, Urban Post Production THANK YOU Six Shooter Records, Nick Adams, GLAAD PRODUCED with the support of TELUS DISTRIBUTED by Travelling Films

[hotfps]

World Premiere: 2020 Outfest Fusion, Los Angeles A young Indigenous musician and his rock band bring mumblepunk to the Interstellar Rodeo. A rock 'n' roll survival story of a different stripe. More info at https://www.trevorandersonfilms.com STARRING ⭐️ Jesse Jams Lyle Bell Emma Frazier Chasm Frazier Curtis Ross Christan Maslyk Adam Martz DIRECTOR Trevor Anderson PRODUCED by Alyson Richards & Trevor Anderson EXECUTIVE PRODUCERS Alex Lazarowich & Penny Frazier CO-PRODUCER Katrina Beatty SUPERVISING PRODUCER Christina Willings CINEMATOGRAPHER Mike McLaughlin 1ST AC: Emily Bruinsma SOUND RECORDIST Micah Henry STILLS/COMPOSER/GRAPHICS: Lyle Bell EDITOR Sarah Taylor ADD’L CINEMATOGRAPHY Lindsay McIntyre & Christopher Herbert ADD’L STILLS Emily Bruinsma & Fish Griwkowsky COLORIST Julien Mailhiot-Guyon, Post-Moderne RE-RECORDING MIXERS Keith Elliott & Shaun Gratto, Urban Post Production THANK YOU Six Shooter Records, Nick Adams, GLAAD PRODUCED with the support of TELUS DISTRIBUTED by Travelling Films

[balarouge]

Meltin’ with Sir Elton John: 50 years of music for a yellow brick farewell in Edmonton | Edmonton Journal

If Saturday night’s all right for fighting, surely there was some room Friday for an almost three-hour embrace from Sir Elton John?

The first of his two Edmonton Farewell Yellow Brick Road shows was a sequined spectacle of rock and roll history/fantasy, from the opening number Bennie and the Jets on, dazzling and sometimes melancholy, but above all gracious and inspiring, especially when the ever-seated John dipped into the highly personal, whether it was through anecdotes of life-saving sobriety or — the night’s musical highlight — he and his eternal songwriter Bernie Taupin’s Someone Saved My Life Tonight.

Elton John and his beard of sparkles. Larry Wong / Postmedia

Dressed in a twinkly glitter tuxedo that drew tiny fireflies on his neck through the night, the hits came quick, the band following the bumping and slightly raunchy All the Girls Love Alice with I Guess That’s Why The Call It the Blues.

On the giant, hyper-high-definition movie screen behind the show, you could see every one of John’s keys reflected in his amazing sparkle shades as he smiled, “We’re excited to be here; we’re ready to play, and we hope you like what you see and hear.”

And how. Noting, “It could have been the Chipmunks, I couldn’t have cared less,” he enthusiastically thanked Aretha Franklin for covering Border so early in he and Taupin’s career, injecting them with confidence. The video above showed young people with their heroes projected onto them, finishing with a family photo of John and his grandmother.

Next, guitarist and band leader Davey Johnstone pulled out the double-neck for the sinaglong Tiny Dancer, which demonstrated how effectively John has threaded into subsequent pop culture. That singalong moment in Almost Famous, 29 years after Tiny Dancer was released, still gives us the cue to belt it out in any public situation as soon as those first eight piano notes hit our ears. The accompanying video of hard times in L.A., complete with the Circus Liquor clown, was breathtaking. As was the production all night, really — from the sculpted frame of John’s accomplishments around the movie screen to the singer’s occasionally coasting-around on his Million Dollar Yamaha grand. He relied on the crowd for Dancer’s high-note chorus, which was just fine by the 17,000 or so, just on the edge of a sold out show.

More superb video behind Philadelphia Freedom, a freestyle dance-off fusing disco, hip-hop and an absolute rainbow of body movement genius dancers. Down on the stage in the real world, not one, not two, but three percussionists included the completely wild Ray Cooper going mad on the congas, Nigel Olsson grinning and singing along whenever the camera was pointed his way, and John Mahon helping hold it all together. Man, what a tight band, extra impressive in their frequent subtlety with just a tambourine slap here, a finger through the bar chimes there.

After the whirlwind, John described his writing process with Taupin where he’ll be handed a song on paper, and, “a little movie will start to appear in my mind,” which he then sets to music. They’ve been at for over 50 years, he noted.

Bennie there, done that. Larry Wong / Postmedia

Cooper and John were extra kinetic for the multi-part Indian Sunset, leading us into the obligatory concert space video, as recently seen for Judas Priest’s killer Take These Chains, speaking of fabulous queer icons with interstellar legacies. This trip to the cosmos was brought to us by Rocket Man, of course (one fan even in a spacesuit, stage right), with John bobbing his head throughout. This was followed by the upbeat Take Me to the Pilot, circling down into Sorry Seem to Be the Hardest Word.

What’s happening?!? Fish Griwkowsky / Postmedia

A Rick and Morty weird-level animation played behind the preposterously good Someone Saved My Life Tonight, Captain Fantastic wandering through an acid-scape of Hieronymus Bosch monsters, which led to another highlight, Levon. This one turned into a full-on jam highlighting each of the players in turn, Johnstone flirting with Day Tripper, John licking his lips like Rudy Giuliani — though without the brain-addled vampire vibe. This got the often-seated crowd up and dancing, and John walked around and flexed, looking extremely happy at the love.

Marilyn Monroe had Candle in the Wind sent her way, a layer of 1974 nostalgia upon an even older layer of Hollywood call-back, the footage of her posing and sometimes crying under layers of makeup and champagne extremely complicated to watch.

Then, a booming special-effects and smoke-machine thunderstorm brought in Funeral for a Friend/Love Lies Bleeding, John changed into a silky, Asian flower print suit and amazing pink glasses.

Things got heated at Elton John Friday night. Fish Griwkowsky / Postmedia

Burn Down the Mission saw John’s piano lit on fire with more on-screen special effects, and after a war-and-surfers montage during Daniel, John got extra personal. “In 1991 I had an epiphany — I hated the way I lived my life. I reached for help and I got sober and I got clean.”

Having saved himself, he was in a better position to help others, including with the Elton John AIDS Foundation. “In 1992 it was a death sentence,” noting now, thanks to medical science, no one need die of HIV-related illness, and that it’s time we “stop the stupidity, stigma and hatred. It’s 2019, for Chissakes, wake up!” He also noted he doesn’t care who you vote for, he’s just here to entertain — though couldn’t resist, “I’m an optimist. In a few years we’ll get rid of the people that we need to get rid of.”

This fired John up for Believe, and a pleasant, sweaty Tom Selleck cabana vibe followed for Sad Songs (Say So Much).

Then John began to slowly say goodbye with style and grace: “This is the 50th year that I’ve been touring. I wouldn’t be here if it weren’t for you. I will miss you guys.

But, “I have a family now and they need me and I need them. I thank you from the bottom of my heart.”

Don’t Let the Sun Go Down on Me led into a raucous The Bitch Is Back, then I’m Still Standing, looking back at his impact on popular culture, including moments of South Park, The Simpsons, The Lion King and a moment squeezed in between but not actually showing the now Disney-owned The Muppets.

Speaking of which, Crocodile Rock was dedicated to his fans, and thus we did all the laa la-la-la-la-la singing of the chorus so John didn’t have to burst anything.

The mighty Sir Elton. Larry Wong / Postmedia

A confetti explosive Saturday Night’s Alright for Fighting ended after two and half hours of continuous music, and for the encore — John now in a green and pink smoking jacket with the most regular of tinted shades — Your Song summoned Ewan Macgregor belting it out to Nicole Kidman in Moulin Rouge.

Finally, Goodbye Yellow Brick Road, the video showing off the singer’s former keyboard gymnastics, legs up in the air, meanwhile in Edmonton the piano taking one last roll across the stage (until Saturday night and all that fighting, of course).

Then, amazingly, 72-year-old John dropped his jacket to reveal a tracksuit, climbed onto a Gremlins-style assist-lift elevator and, waving goodbye as he rose up the ramp, disappeared into the wall for good. Timed perfectly, he was up on the screen, walking down the Yellow Brick Road one last time, which melted into a golden sunset.

And that, ladies and gentlemen, is how to make an exit.

Well done, Sir … with love.

All the Girls Love Alice

I Guess That’s Why They Call It the Blues

Rocket Man (I Think It’s Going to Be a Long, Long Time)

Take Me to the Pilot

Sorry Seems to Be the Hardest Word

Someone Saved My Life Tonight

Funeral for a Friend/Love Lies Bleeding

Sad Songs (Say So Much)

Don’t Let the Sun Go Down on Me

The Bitch Is Back

Saturday Night’s Alright for Fighting

This content was originally published here.

[yegarts]

Read Fish Griwkowsky’s story about David Garneau and his public art for the  Tawatinâ Bridge!

[ozkamal]

World Premiere: 2020 Outfest Fusion, Los Angeles A young Indigenous musician and his rock band bring mumblepunk to the Interstellar Rodeo. A rock 'n' roll survival story of a different stripe. More info at https://ift.tt/2UjjL9i STARRING ⭐️ Jesse Jams Lyle Bell Emma Frazier Chasm Frazier Curtis Ross Christan Maslyk Adam Martz DIRECTOR Trevor Anderson PRODUCED by Alyson Richards & Trevor Anderson EXECUTIVE PRODUCERS Alex Lazarowich & Penny Frazier CO-PRODUCER Katrina Beatty SUPERVISING PRODUCER Christina Willings CINEMATOGRAPHER Mike McLaughlin 1ST AC: Emily Bruinsma SOUND RECORDIST Micah Henry STILLS/COMPOSER/GRAPHICS: Lyle Bell EDITOR Sarah Taylor ADD’L CINEMATOGRAPHY Lindsay McIntyre & Christopher Herbert ADD’L STILLS Emily Bruinsma & Fish Griwkowsky COLORIST Julien Mailhiot-Guyon, Post-Moderne RE-RECORDING MIXERS Keith Elliott & Shaun Gratto, Urban Post Production THANK YOU Six Shooter Records, Nick Adams, GLAAD PRODUCED with the support of TELUS DISTRIBUTED by Travelling Films

[usacurrentnews-blog]

Vue-logy: the end with a whisper of the printed alt weekly in Edmonton

Vue-logy: the end with a whisper of the printed alt weekly in Edmonton

A cultural signpost for decades, Vue Weekly’s last issue is Nov. 29. Fish Griwkowsky / Postmedia

People keep ditching Facebook like wet rats, fairly pointing out it’s an all-access pass to pain — but to me it was really the algorithms that broke that machine. It was perfectly functional about five, six years ago. You’d see what your friends posted, be able to track…

[hongyeewu-blog]

The short film The High Level Bridge delves into the dark topic. Edmonton’s High Level Bridge is a frequent spot for suicides. It’s positively an interesting concept to take on, making a film about a bridge, not shooting it as a full-on History-channel style documentary retracing the story of its creation and its designing specs. Some background is given, but Anderson's interpretation of the subject is a mix of the dryly factual and the personal. In the film, director Trevor Anderson narrates this personal documentary, tells of his friend who was discharged from the University of Alberta hospital and threw himself into the murky North Saskatchewan River. In addition, a second friend wandered from his south side home one evening to end his life off the bridge. It contextualizes the bridge’s place in the community while paying reverence to the people who were perhaps blinded by pain from recognizing that community when they chose to throw themselves over the side.

Anderson describes the bridge in a sad tone as "an impressive structure that crosses a breathtaking river valley; also two of my friends died there." The voice-over narration is delivered by Anderson in his own voice, in what is an assured and amusing vocal performance that is tinted with a trace of dark humor.  Also, his works contain horror music, dark orchestration, and chilling sound effects. Besides, Anderson’s editing style elicits a warmth and quirky sensibility that paints a loving portrait of his Canadian homeland.

This film can be divided into three parts. In the first part, Anderson gives a detailed account of how High Level Bridge look like, then this film gives an aesthetic tribute to those who have jumped from the bridge, and also a poetic contemplation of the High Level Bridge itself and its role in the city’s collective psyche. The climax of the story, also the ending, Anderson throw the a camera which is a demonstration rich in cinematic metaphor.

In terms of shot composition, trying to approach it from an angle the audience won't expect at in the first place, Anderson throws his camera off the Edmonton’s High Level Bridge in memory of those who have jumped at the end of the film. It is recognized as a brilliant cinematic gesture. Those short puts words to something individuals have felt or thought. Besides, director of photography Fish Griwkowsky’s fabulously created frames captures in the bridge and its environs an atmosphere of grim brittleness, bringing out the fragility of a human psyche that never fails.

The director employs sensuous, atmospheric camerawork, which also talks about the bridge’s history and its place in collective psychology with insight and wit.  Finding humor in dark territory, This film showcases chilling shots of the North Saskatchewan River. No one knows why the bridge is a common place for suicides, but the shots indicate it's due to the public, the central location of the structure.

The last shot can be made in my zero-low resource film to release a lot of pent-up anger to social injustice and the hope to the future. Also, an early line of the film states “…everyone around here knows at least couple of people who’ve jumped” which builds the community angle. Similarly, it is important to build the community angle in my film Candy to speak for the minorities who have not yet entered the mainstream. Furthermore, in spite of its tragic subject matter, The High Level Bridge is not a hopeless film; the point of view feels that of someone with much to live for. Anderson characterizes the bridge so it becomes more than just a beautiful structure, as so many people have had meaningful interactions on that bridge. Similarly, a jar of candy in my film is not just a prop but considered as a symbol of new life.

High Level Bridge is about the loss if people don't talk about loss, no one grieve it. In my film Candy, I will be telling the story of loss too. One of the things I want to do with my film is to contribute to an effort to remove the stigma from the minority groups. My creative solution to this issue is to add a narrator’s voice putting that sort of worries into words. Furthermore, spectators of the film High Level Bridge from all walks of life, from within Edmonton and from without, have similarly been moved to reflect on their own losses after seeing it. That is also the meaning of my film I want to carry to the spectators, telling the brutal truth of a real life. My creative solution is to use lighting to create that dark mood.

[latitude53]

Fish Griwkowsky talked to Lee Henderson about his show, for the Edmonton Journal:

Henderson explains, “When I was a kid I used to watch The Golden Girls at my grandma’s house. I attribute a lot of my equanimity toward death to my grandma—for as long as I can remember, over 30 years, she would regularly say that she was ‘ready to go any day now,’ and would then fail to do so—until she didn’t.

“There are two scenes I remember most vividly from that time. In one, Rose tells a curmudgeonly neighbour to ‘drop dead,’ and the rest of the episode is about the Girls having to administer her funeral because she had no remaining family and no friends. In the other, the Girls make a pact that when one of them dies the others will all take care of each other. The episode ends soberly when Rose asks, ‘But what about when there’s only one of us left?’ So upon reflection, my memories of the show are more morose than they are comedic. I guess mining it for death references felt obvious. And I’ve always thought of death and humour as intertwined.

(via ArtPic: Lee Henderson’s *Palliative Care* at Latitude 53 | Edmonton Journal)

Be sure to catch Palliative Care before it disappears from the gallery this weekend!

[wetsecrets]

Snoozey finger. Nightlife screening nap time for Fisherman. Edmonton, 2013.

[derksmenswear-blog]

Trevor Anderson (Dirt City Films) and Fish Griwkowsky (Edmonton Journal)  getting ready at Derks for the annual FAVA GALA and awards ceremony this Saturday, Mar 23 at Metro Cinema at The Garneau (8712 109 St.) The ceremony will be followed by Amy van Keeken's Rock and Roll Sing-a-Long which is open to the public, admission by donation and a cash bar. For more information check out FAVA's website.

[usacurrentnews-blog]

Nuit Blanche 2018 — the return of thought-provoking and shiny!

Nuit Blanche 2018 — the return of thought-provoking and shiny!

The lightswitch chains of CLOUD are pulled by participants at Nuit Blanche 2018 on Jasper Avenue. Fish Griwkowsky / Postmedia

If you had to pin down the best-executed feature of Nuit Blanche 2018 Saturday night, Thierry Marceau’s re-enactment of the Gretzky Trade will probably push forward, or maybe the flickering incandescent lightbulb CLOUD by Caitlind r.c. Brown and…

[yegarts]

2018 Artist Project grants – first round

Edmonton Arts Council and City of Edmonton supports 30 local artistic projects

Artist Project grants for individual artists and collectives support the pursuit of artistic and professional advancement. Be it creation, research, development, curation, exhibition, production or professional development opportunities – artists are welcome to apply to have these projects funded. With so many artists pursuing various ideas and disciplines, it’s inspiring to see what Edmonton’s arts community is creating.

Image: Nancy Sandercock performs frost flowers/RHIZOME at Mile Zero Dance’s Spazio Performativo (click here to watch her performance filmed by John Bellucci) she will be expanding on this work for The Works Art & Design Festival in a four-hour durational performance installation.

Throughout 2018, you can expect to see numerous artist projects around Edmonton. With their Artist Project investments, Nancy Sandercock and Emmanuel Osahor are each creating art installations to be shown at The Works Art & Design Festival – discover their work as part of the festival from June 21 to July 3 at Site 1. Merging dance, music, and theatre, Thou Art Here will bring you the story of William Shakespeare’s wife, Anne Hathaway, in the historic 1886 Edmonton Cemetery this fall, assisted by a Project grant.

Image: Stephanie Urquhart performs with Experience Points on Churchill Square, photo by Tatiana Zagorac of XYZ Productions.

Seeking an outlet for her compositions, professional composer and pianist Stephanie Urquhart created the group Experience Points. Together they combine funk, jazz, and groove-based music with classic video game soundtracks. With their Artist Project grant they plan to record and release their first album.

Image: Murrini glass prototypes by Keith Walker, photo supplied.

Artist Project grants also give artists the opportunity to explore and experiment in their practice. Looking to push her own artistic voice, accomplished dancer, choreographer and instructor Jodie Vandekerkhove will be exploring how to express herself through body and camera. Her dancing-camera will allow audiences to see what a dancer sees from “their” perspective, adding a new voice to the work. Using his Project grant, Keith Walker will be working with assistants to explore the Italian glasswork technique, Murrini. He experienced this labour-intensive process at an international glass residency at Salem State University in Salem, Massachusetts and is excited to continue in this exploration into future works.

The full list of the first round of Project Grants approved through our peer jury review process is below:

Alicia Krawchuk & Kirstine Bargas (of Blanket Studios) | complete postproduction for feature documentary, Music of the Motherland, about Namibian-Canadian musician Garth Prince

Asani & Maria Dunn | create a video of two songs that tell the story of the Cree, Dene and Métis peoples’ community of Fort McKay

Bill Bourne | record 20th album

Carmen Nieuwenhuis | attend the Women’s Directing Intensive with Carey Perloff at the Banff Centre for the Arts

Dawn Carter | hire an editor to review and edit a manuscript

Emmanuel Osahor | create a large scale outdoor installation at The Works Art & Design Festival

Experience Points | record an album of original video game music arrangements

Farhad Khosravi | press second studio album The Passenger

Fish Griwkowsky | create a short experimental documentary portrait of two Edmonton artists

Gabriel Esteban Molina | attend the Banff Emerging Artist in Residence Program

Holly de Moissac | produce a new body of print works

Jodie Vandekerkhove | explore the use of body-mounted cameras to create a new dance piece

Keith Walker | develop a new series of glass sculptural work using Murrini technique

Kellen Frost, Hailey Fata & Olivia Iadritis | production of 25-minute film Indra's Spirit, the sequel to award winning film Indra's Awakening

King of Foxes | record a new album titled Salt & Honey

Kyle (Terrence) Appelt | short film and installation exploring province of Alberta’s masculine and economic identities

Larry Kelly | complete postproduction for short dramatic film D-Day Plus One

Laura Porter | attend the Banff Emerging Artist in Residence Program

Maria Phillipos (RIELL) | mix and master a new recording

Martin Kerr | create five original arrangements of songs for chamber orchestra for Winspear performance

Matthew MacKenzie | write a new play

Mbira Renaissance Band | record and release a studio album

Michael Bradley, Elise Jason, Patricia Darbasie, Alexandra Dawkins & Nicole St. Martin | collaborate in a first-stage devising workshop based on Shakespeare's Richard III

Nancy Sandercock | research and develop a new dance, sound and visual art installation for The Works Art & Design Festival

Thou Art Here Theatre | create a site-sympathetic production of Shakespeare's Will by Vern Thiessen in the 1886 historic Edmonton Cemetery 

Nisha Patel | write solo book of poetry

Raphaël Freynet | attend a creative song-writing retreat

Scot Morison | research and write a non-fiction project about the Arab/Israeli conflict

Vaughan String Quartet | perform a series of outreach concerts for underserved audiences

Yinan Li, Daniel Belland & Allan Gilliland | compose three new works for The Obsessions Quartet

The Edmonton Arts Council accepts project grant applications three times a year: “small grants” of up to $5,000 twice a year and “large grants” up to $25,000 once a year. Our next intake is June 15, 2018 for large grant requests.

>> Click here for more information on this grant program…

[latitude53]

Today Fish Griwkowsky shares his highlight from Georgia Georgia with the Edmonton Journal:

Zeleny explains, “I call it an experimental collaboration. We’re trying to have a conversation between images. I liked the idea of Paris, Texas, this idea of there being a Paris in the middle of nowhere. Or, ‘You live in London — not Ontario, the good London,’ ” he jokes. “(Shevchenko)’s Russian, so Georgia the country is familiar but unfamiliar, in the same way Georgia, U.S.A., was for me. So we were looking at, could we derive some sort of visual connection between the two? It was a practice that became a project.”

Using journey as a method, they discovered auto wrecks overtaken by nature, old men holding wooden walking sticks and thick, oil-basted vacationers as poetic links, creating collaged diptychs in the gallery. Sometimes the artists aimed for ambiguity, so you wouldn’t know which side of the Atlantic a picture was taken.

ArtPic: Kyler Zeleny and Yanina Shevchenko’s Palm at Latitude 53 | Edmonton Journal

[latitude53]

The Journal's Fish Griwkowsky writes about Lisa Jones' workin this week's ArtPic:

In her art, Jones was first drawn to the Hartford circus fire of 1944. “I found myself incredibly fascinated by these monumental disasters that humans were entirely at fault for, and because of whom many innocent people and animals lost their lives. As someone who struggled in my early 20s with substance abuse problems, I felt such empathy when I looked at imagery of these overworked circus animals and performing acrobats.”

You can feel there’s something personal going on in this image, tender and still.

[latitude53]

Fish Griwkowsky spoke to Sarah Burwash about her work for the Edmonton Journal this week:

Burwash, born in B.C., phoning from Cape Breton, is so interested in a nomadic, outdoor lifestyle that she practically apologizes for it, and that sense of running naked through the woods is all over her emotional cave paintings.

“I like the idea of all these things happening at once, but also I like the viewer to be able to enter a lot of different worlds. You can narrow into one space and imagine it’s its own. In a way I imagine how public our lives have become, how we value our privacy—how many walls and screens are between the time we spend with other people.

“I’m erasing that in a way, the boundaries between all these people and rituals and scenes—making it open, nothing to be ashamed or private about. It’s a comfortable yet vulnerable space.”

(via ArtPic: Sarah Burwash at Latitude 53 | Edmonton Journal)