50/96 Snapspots (for Bruce), 35mm/16mm, col, 3 min
48/95 tausendjahrekino, 35mm, col, 3 min
47/91 Ein Fest, 16mm, col, 2 min
46/90 Falter 2, 35mm/16mm, b/w, 1 min
45/88 Trailer (for ORF–Kunststücke)
44/85 Foot’-age shoot’-out, 16mm, col, 2 min
43/84 1984, 1984, col, silent, 1 min
42/83 no film, 16mm, b/w, silent, 1 min
39/81 Which way to CA?, 16mm, b/w, silent, 4 min
40/81 Breakfast im Grauen, 16mm, b/w, silent, 3 min
41/82 Getting warm, 16mm, col, silent, 3 min
38/79 Sentimental Punk, 16mm, col, silent, 4 min
36/78 Rischart, 16mm, col, silent, 3 min
37/78 Tree Again, 16mm, col, silent, 3 min
33/77 Keine Donau, 16mm, col, silent, 8 min
34/77 Tschibo, 16mm, col, silent, 2 min
32/76 An W+B, 16mm, col, silent, 7 min
31/75 Asyl, 16mm, col, silent, 8 min
30/73 Coop Cinema Amsterdam, 16mm, col, silent, 3 min
29/73 Ready-made, 16mm, b/w, 12 min
28/73 Zeitaufnahme(n) 16mm, col, silent, 2 min
27/71 Auf der Pfaueninsel, 16mm, b/w, silent, 1 min
26/71 Zeichenfilm – Balzac und das Auge Gottes, 35mm/16mm,
b/w, silent, 1 min
24/70 Western, 16mm, b/w, silent, 3 min
23/69 Underground Explosion, 16mm, col, 5 min
22/69 Happy-end, 16mm, b/w, silent, 4 min
20/68 Schatzi, 16mm, b/w, silent, 2 min
18/68 Venecia kaputt, 16mm, b/w, silent, 1 min
17/68 Grün-rot, 16mm, col, silent, 2 min
16/67 20. September, 16mm, b/w, silent, 6 min
15/67 TV, 16mm, b/w, silent, 4 min
13/67 Sinus Beta, 16mm, b/w, silent, 5 min
12/66 Cosinus Alpha (Material Action Otto Mühl), 16mm, col,
silent, 9 min
11/65 Bild Helga Philipp, 16mm, b/w, silent, 2 min
10c/65 Brus wünscht euch seine Weihnachten, 16mm, b/w,
silent, 2 min
10b/65 Silber – Aktion Brus, 16mm, b/w, silent, 2 min
10/65 Selbstverstümmelung (Action Günter Brus), 16mm, b/w,
silent,5 min
9/64 O Tannenbaum (Material Action Otto Mühl), 16mm, col,
silent, 5 min
8/64 Ana – Aktion Brus, 16mm, b/w, silent, 2 min
7/64 Leda mit dem Schwan (Material Action Otto Mühl), 16mm,
col, silent, 3 min
6/64 Mama und Papa (Material Action Otto Mühl), 16mm, col &
b/w, silent, 3 min
5/62 Fenstergucker, Abfall, etc., 16mm, col, silent, 4 min 4/61 Mauern pos.-neg. und Weg, 16mm, b/w, silent, 6 min
3/60 Bäume im Herbst, 16mm, b/w, silent, 5 min
2/60 48 Köpfe aus dem Szondi-Text, 16mm, b/w, silent, 4 min
1/57 Versuch mit synthetischem Ton (Test), 16mm, b/w, 1 min
1956 Klavier Salon 1. Stock, 16mm, b/w, silent, 1 min
1956 Rom (Fragment), 16mm, b/w, silent, 3 min
1956 Das Walk, 16mm, col & b/w, silent, 7 min
Kurt Kren was born in Vienna in 1929 to a German mother and an Austrian father of Jewish decent. In 1939 the ten-year-old was sent via „Kindertransport“ (organized by the British Refugee Children Movement) to Rotterdam. In 1947 Kren returned to Vienna and was given a job at the National Bank by way of reparation. Shortly afterwards associated with members of the Art-Club, a circle of progressive artists. In 1955 Kren bought his first Regular 8 camera and became a member of an amateur filmmakers’ club, Klub der Kinoamateure. Some of his first artistic experiments with film were made in collaboration with the poet Konrad Bayer. As of 1957 Kren created his first 16mm film and in 1960 made his first serial montage film of many to follow. It is due to these early serial works that Kren is considered one of the most influential pioneers of structural filmmaking. From 1964 through 1966 Kren made films based on “material actions” staged by Otto Muehl and Günter Brus performed exclusively for Kren and several photographers. In 1966 he participated in the Destruction in Art Symposium in London, during which the Viennese Actionists made their first international appearance. In 1968 Kren took his first trip to America to present his films in New York and St. Louis. In the same year, he was wrongly accused of filming the scandalous Action Art and Revolution staged at the University of Vienna, directly leading to the termination of his bank job. In 1971–1976 Kren lived in Cologne. 1972–1973 he produced a series of 5 boxes, each containing a super 8 print of one of his films, a copy of its handwritten score and several stills. In 1976 he moved to Munich, participated in Kassel’s documenta 6 in 1977, and emigrated to California in 1978. In 1981 he worked with a group of housewreckers in New England, making money from the wood they salvaged. Kren subsequently moved to Austin and then relocated to Houston, Texas. From 1983 to 1989 Kren worked as a security guard at the Museum of Fine Arts in Houston. His films were presented in many different cities and prints sold to numerous international collections. In 1989 Kren returned to his homeland. Co-founder of the Vienna Institute of Direct Art (1966) and of the Austria Filmmakers Cooperative (1968). Member of the Vienna Secession. Kurt Kren died in 1998.