10/65: Self-Mutilation

10/65: Self-Mutilation

1965 · 5 min · ★ 5.9 · Drama, Horror

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 plaster lying surrounded by razor blades and a range of instruments looking as if they have been taken from an operating theatre. The blades, scissors and scalpels are gradually inserted into him in a ritualistic self-operation. (Stephen Dwoskin)

Directed by Kurt Kren

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Günter Brus Himself

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43/84: 1984

43/84: 1984 · 1984

Kurt Kren recorded the last television debate in the Reagan/Mondale election campaign. In the viewfinder, the television filled the entire picture, but the viewfinder did not match the lens entirely so that the television screen in the picture was very little. That was not the plan, but Kren decided to "adopt" the film in the end.

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Satisfaction · 1968

Four men, one woman and a cat in a room. The men drink and discuss. Things get a bit violent. The masochist acts out his desires by himself. Random fuss and sex occurs. Suddenly the woman gets her baby to change diapers. Odd things around the child. The cat gets abused. This is Otto Muehl going Fassbinder.

23/69: Underground Explosion

23/69: Underground Explosion · 1969

23/69: Underground Explosion

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

39/81 Which Way to CA?

39/81 Which Way to CA? · 1981

39/81 Which Way to CA?

Kren on his way from Vermont to California. Kren says that his various cars are the thread which runs through the story. (Hans Scheugl)

37/78: Tree Again

37/78: Tree Again · 1978

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 frame shots create a storm of pictures.

7/64: Leda and the Swan

7/64: Leda and the Swan · 1964

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, though the "action" itself was primarily a gradual destruction of the erotic.

10b/65: Silver – Action Brus

10b/65: Silver – Action Brus · 1965

10b/65: Silver – Action Brus

"Action" by Günter Brus. At first Kren did not want to show the film, because the image is underexposed. A copy of the negative material turned out to be better than the original material and so Kren did show the film. The film's title relates to Brus' use of silver paper for his action.

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The 120 Days of Bottrop · 1997

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

49/95: thousandyearsofcinema

49/95: thousandyearsofcinema · 1995

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The making of pictures becomes the central issue in itself in that, with an analytical single-picture procedure, picture-taking tourists on Vienna's St. Stephen's Place are captured and their faces animated to a dance.

15/67: TV

15/67: 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. Kren, the gentle voyeur - who turns the viewer into a secret accomplice - observes three teenagers, and probably like them, awaits a rendezvous. (Thomas Trummer)

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

6/64: Mom and Dad (An Otto Mühl Happening) · 1964

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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, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, lumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. (Peter Tscherkassky)

Exit... But No Panic

Exit... But No Panic · 1980

Exit... But No Panic

MovieActionCrime

A guy having sex with a woman on a rooftop – just to get her coffee-machine.

38/79: Sentimental Punk

38/79: Sentimental Punk · 1979

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 photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'

20/68: Honey

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Kurt Kren films a photo which shows an SS officer standing on a town square which is littered with dead bodies.

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A subversive and experimental film by Otto Muehl.

28/73: Time Exposure(s)

28/73: Time Exposure(s) · 1973

28/73: Time Exposure(s)

A man's head is seen in silent close-up using single-frame shooting and time exposure.

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