Kurt Kren Snapspots

The dialog with modernism, which Kren helped shape so decisively, can be traced in most of his 49 films. Dadaist realism was not lacking either - in Venecia Broken, On the Peacock Island, Ready-made and in his Expanded Movies.
In the "bad home movies" made in the USA, Kren finds a late, stylistically new formulation of his visual intelligence. He conceals silent narratives, lines up the views of a "poor, lonesome traveler" and in traces a sense of security that he himself
and now discovers in others. And even when every perspective on life seems to have vanished, Kren tries to cast this in cinematic form in his films from 1983-85. Many years later, back in Vienna, Kurt Kren's first commercial came - produced for the city newspaper Falter in 1990 - in which he catapulted the Vienna subway and its passers-by's in his legendary short cut method. (Peter Tscherkassky)

Program
18/68: Venecia Broken (A 1968, 16mm, silent, 22 sec.)
22/69: Happy End (A 1969, 16mm, silent, 5 min.)
23/69: Underground Explosion (A 1969, 16 mm, 5 min 30 sec.)
24/70: Western (A 1970, 16mm, silent, 3 min.)
27/71: On the Peacock Island (A 1971, 16mm, stumm, 2 min.)
26/71: Cartoon – Balzac and God's Eye (A 1971, 35 mm, 35 sec.)
30/73: Coop Cinema Amsterdam (A 1973, 16mm, silent, 4 min.)
33/77: No Danube (A 1977, 16mm, silent, 9 min.)
34/77: Tschibo (1977, 16mm, silent, 2 min.)
39/81: Which way to CA? (A/USA 1981, 16 mm, silent, 3 min. 30 sec.)
40/81: Breakfast in Horror (A/USA 1981, 16 mm, silent, 3 min. 24 sec.)
41/82: Getting warm (A/USA 1982, 16 mm, silent, 3 min. 35 sec.)
42/83: No Film (1983, 16mm, silent, 3 sek.)
43/84: 1984 (1984, 16mm, silent, 2 min.)
44/85: Foot’-age shoot’-out (A/USA 1985, 16 mm, 2 min. 45 sec.)
46/90: Moth 2 (1990, 35mm, 1 min.)
50/96: Snapspots (for Bruce) (A 1996, 35 mm, silent, 4 min. 45 sec.)
29/73: Ready-made (1973, 16mm, 12 min.)