2/60: 48 Heads from the Szondi-Test

Kren's second film and the first he cut according to a strictly serial, sequence technique: in various frame sizes, the 48 portraits from the Szondi Test for "experimental diagnosis of human impulses" are shown in pre-specified lengths (between one and eight frames).

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.'

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 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)

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 cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)

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 was: no film. Question mark." (K.K.)

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 constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael Snow's later work. In this film, perception of material relationships in the world is seen to be no more than a product of the structural activity in the work. Art forms experience.

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 in front of the camera.

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.

13/67: Sinus Beta

Sinus Beta is almost a sort of teaching film about bodily behavior in different situations. The film also produces, through the heterogenic photographic materiality of the primary elements, a cross-section of the methods, used in capturing the body in a still photograph. (Mubi)