Films 1967-76

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Sinus Beta, 1967

Sinus Beta is almost a pedagogical film about the behavior of the body in various situations, but equally a section through the methods of immobilizing and fixing the body photographically. (Michael Palm)

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TV, 1967

Kren frames the image to suggest a proscenium, with a view to the harbor that conveys a literal sense of “tele- vision”. The static framing of the image and the clearly stratified mise-en-scène can hardly provoke interpretation. The sight of the girls does so all the more. (Thomas Trummer)

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September 20th, 1967

Kren says: The London Film-Makers´ Cooperative calls this film the "Eating, Drinking, Pissing and Shitting film".Kren says: This film had to be made. London Filmmakers Coop says: It had to be Kren who made it." (Anonymous)

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Green-Red, 1968

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)

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Venecia kaputt, 1968

In 1968 Kren made Venecia Kaputt, which lasts only 22 seconds, and utilizes scratching on film to erase an image of Venice. (Malcolm Le Grice)

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Honey, 1968

Schatzi begins with a blurred light and dark structure – hazy spots and surfaces that appear to blur each other. Slowly, and the film continues one begins to detect a figure, a man in a long, dark coat ... (Hans Hurch)

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Happy End, 1969

Kren filmed pieces of feature films in the cinema without looking through the view finder. The missing sexual climax from the cinema was added by Kren in the form of insights and views from Otto Muehl’s Libi Aktion. (Hans Scheugl)

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Underground Explosion, 1969

A report about an Underground Festival on tour through Germany and Switzerland. Kren shot the film from the hip, which, together with the music, generates a very authentic impression of events. (Hans Scheugl)

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Western, 1970

The alien impression of photography in Western is caused by the use of extreme close-up. Kren’s camera moves across the details of a Vietnam Poster in single frames as if, with trembling closeness and persistent repetition, he wanted to win a new truthfulness from the picture. (Hans Hurch)

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Zeichenfilm - Balcak und das Auge Gottes, 1971

In crude, hand-drawn animation, Balzac und das Auge Gottes evokes the scatological, sadomasochistic actions and performances of Otto Muehl and Günter Brus. (Regina Cornwell)

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On Peacock Isle, 1971

Walk with Anni Brus, Diana Brus, Günther Brus, Alois Egg and Wolfgang Ernst in Berlin.

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Time Exposure(s), 1973

Kren releases Hans-Peter Kochenrath‘s face from time by using single frames so that a wild, vibrating, untamed mass results. A new form of moving portrait emerges. (Michael Palm)

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Ready Made, 1973

Kren was supposed to read three letters from Groucho Marx to the Warner Brothers in a television film about the film Casablanca. Warner wanted to prevent the Marx brothers from using the title A Night in Casablanca by court order. The material which was shot was unusable for television and was to have been destroyed. (Hans Scheugl)

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Coop Cinema Amsterdam, 1973

Over a period of three weeks, Kren shot single frame and slow motion material in the projection booth of the Coop Cinema both during and after the shows. (Hans Scheugl)

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Asylum, 1975

A meadow, a lake, the silhouette of a hill, trees. 21 days of the same view in Saarland. 21 days with five different cut-outs in a mask before the camera, which finally reveals a complete panorama. A landscape changes with the advancing seasons and becomes slowly delirious in its technical alienation. (Claus Philipp)

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To W + B, 1976

I took a photo of the view out of the window and I had a very large negative made from it, which I fastened to the lens hood attachment 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, changing the focus from near to far and then back again, i.e. from the negative to the landscape beyond and back again. (Kurt Kren)