The 120 Days of Bottrop

The 120 Days of Bottrop

An eccentric homage to the Rainer Werner Fassbinder days of German filmmaking.

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15/67: TV

15/67: TV

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...

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42/83: No Film

42/83: No Film

"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...

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10/65: Self-Mutilation

10/65: Self-Mutilation

Kren’s 10/65 Selfmutilation is developed from a Gunter Brus “action”. What the film emphasizes is the surrealistic drama of symbolic...

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1/57: Experiment with Synthetic Sound (Test)

1/57: Experiment with Synthetic Sound (Test)

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a...

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6/64: Mom and Dad (An Otto Mühl Happening)

6/64: Mom and Dad (An Otto Mühl Happening)

In the first action he filmed, 6/64 Mama und Papa, Kren’s editing leads to many interlocking continuous shots; central takes recur like a leitmotif...

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37/78: Tree Again

37/78: Tree Again

At the center are takes which do not change - a tree in a field in Vermont, U.S.A. Since the film was shot over a period of fifty days, the single...

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31/75: Asylum

31/75: Asylum

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...

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7/64: Leda and the Swan

7/64: Leda and the Swan

Based on a Muehl Happening. The almost convulsive use of juxtaposition reappears here, but the captured gesture assumes a more erotic sensitivity...

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44/85: Foot'-age Shoot'-out

44/85: Foot'-age Shoot'-out

"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...

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The Lascivious Wotan

The Lascivious Wotan

A subversive and experimental film by Otto Muehl.

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30/73 Coop Cinema Amsterdam

30/73 Coop Cinema Amsterdam

Kren shows the cinema (mentioned in the title) during and after film presentations. He uses single-frame and time exposures 5 to 30 seconds long...

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38/79: Sentimental Punk

38/79: Sentimental Punk

'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a...

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12/66: Cosinus Alpha

12/66: Cosinus Alpha

Kren’s last film to include any direct reference to Otto Muehl is 12/66: Cosinus Alpha, a 10-minute film that completes a cycle of elaborate...

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9/64: O Christmas Tree

9/64: O Christmas Tree

In 9/64 O Christmas Tree Kren offers a more visually descriptive development of a Muehl "action". The images have been chosen to follow a more...

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10c/65: Brus wishes his Christmas on you

10c/65: Brus wishes his Christmas on you

A kind of home movie made in Brus' apartment. Brus' Christmas wishes can be seen on a poster which he painted and which he holds for a short time...

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8/64: Ana - Action Brus

8/64: Ana - Action Brus

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...

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26/71: Zeichenfilm – Balzac und das Auge Gottes

26/71: Zeichenfilm – Balzac und das Auge Gottes

Zeichenfilm - Balzac oder das Auge Gottes is a play on the idea of trick film. And trick film it is. The 30-second work is shown twice in case the...

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23​/69: Underground Explosion

23​/69: Underground Explosion

A report about an Underground Festival on tour through Germany and Switzerland.

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3/60: Trees in Autumn

3/60: Trees in Autumn

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...

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