28/73: Time Exposure(s)

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.

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.

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

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 dramatic sequence, probably because the action itself contained a wide range of images and materials.

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.

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.

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

"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.

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)

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

A subversive and experimental film by Otto Muehl.

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.

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.

A portrait of the Austrian avant-garde artist Otto Mühl/Muehl (1925-2013), whose work combined sex, violence, gastronomy and bodily effluence with unbridled abandon.

Introduces the films ‚Körperanalysen’ (body analyses), an overview of Actionism movies from 1964-1970 (a. o. Kurt Kren, Otto Mühl, Ernst Schmid Jr.), compiled and presented in a documentary format by Peter Kasperak.

On the 28th of October 1884 Daniel Paul Schreber, candidate of the National Liberal Party in Chemnitz, suffered a heavy defeat at the elections of the German Reichstag. He was taken up in the mental clinic of the Leipzig University soon afterwards. To his rehabilition he wrote an extensive piece of work, "Denkwürdigkeiten eines Nervenkranken" (Memoirs of My Nervous Illness), which was published in 1903 and led to his temporary dismissal. Hereby Schreber became the most quoted psychiatric patient in scientific literature. The third part was realized by Peter Tscherkassy based on a concept by Ernst Schmidt Jr.