Kren’s 10/65 Selfmutilation is developed from a Gunter Brus “action”. What the film emphasizes is the surrealistic drama of symbolic self-destruction that Kren drew out of Brus’ action, pacing out each gesture so that one gets a tense, iconoclastic revelation of a man covered in white...
11/65 Bild Helga Philipp is an optical abstraction of an optical abstraction: Kren has simply intercut filmed movements and sections from an Op painting by Helga Philipp - the result is motion opticals.
The third of the "bad home movies". Kren moved, along with his Thunderbird from New England in winter to the warmth of Texas. Part of the film was shot in Austin. (Hans Scheugl)
This three-minute film was far more akin to the American-style "happening" in that the content was not particularly extreme. It was built up from items such as broken bicycle parts, a nude model, pieces of furniture, and these elements were then obscured or transformed by having a layer of paint...
Sinus Beta is almost a sort of teaching film about bodily behavior in different situations. The film also produces, through the heterogenic photographic materiality of the primary elements, a cross-section of the methods, used in capturing the body in a still photograph. (Mubi)
Kren filmed, in microscopic detail the reflection and refraction of the light in/on a glass bottle. However, the bottle itself (the whole body) is never seen. What is seen is much more the emanations of light from the glass and its clarity. (Michael Palm)
Another try by the Viennese actionists around Otto Mühl, trying to shock the middle-class bourgeoisie with all sorts of explicit sexual and excretory processes.
The film uses slides - photographic planes - which show different surfaces and finishes of a wall, which have been erroded by time. Kren stacks the positives and negatives of these pictures quickly one after the other, so that a moving relief-type structure develops through this combination of "two...
The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael Snow's later work. In...
I took a photograph of the view out of the window and had a very large negative made from it, which I fastened to the lens hood attacement in front of the camera. I tried to bring the negative into alignment with the real landscape which I could see through the camera. Then I filmed for months,...
"It became easier to understand Kren's method of approaching film when he illustrated his matter-of-factness with a story: he was asked to shoot and deliver a film, for a festival, given four day's notice, which he did ('foot'-age shoot'-out'). He normally takes a long time with a film; this one he...
"In 1983, I got a job as a museum attendant and abandoned film-making entirely. And so the question arose: "no film?," and the conclusion I came to was: no film. Question mark." (K.K.)
