Paper

Student Artwork Guide

Lability

Lubo Kristek, 1974

Name Class Date
Lubo Kristek, Lability (1974), Research Institute of Communication in Art. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Lubo Kristek originaluniqueart.com/en/artists/lubo-kristek/
Artist’s dates
1943 –
Painted
1974
Medium
Mixed Materials
Original size
150 x 80 cm
Movement
Assemblage Art
Held at
Research Institute of Communication in Art originaluniqueart.com/en/museums/research-institute-of-communication-in-art-brno/
Artistic style
Postmodern
Notable elements or techniques
Assemblage, Kinetic element
Subject or theme
Uncertainty of man in a postmodern world

Copyright This work is treated as still under copyright. Lubo Kristek was born in 1943 and has no recorded death date; copyright lasts 70 years after the artist’s death. The image is shown here for classroom reference; rights remain with the rights holder.

Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

Lability — Lubo Kristek Part 1 · The artwork

In context

Lability — Lubo Kristek

How big is it?

The original measures 150 × 80 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1940
  2. 1950
  3. 1960
  4. 1970
  5. 1980
  6. 1990
  7. 2000
  8. 2010
  9. 2020

Row above: the years. Row below: how old the artist was at the start and at the end of each span, counting 0 from birth.

Painted when the artist was 31. 7 of the 51 dated works by this artist in our catalogue came earlier.

▲ this work, 1974 every dated painting, decade by decade

First works: up to 1976 Main working years: 1976–2003 Late works: from 2003

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/lubo-kristek-lability-D68JR4-en/

Colours

Measured from the image

    Main colour

    Putty #f1e2c2

    Catalogued palette

    • #F1E2C2
    • #996130
    • #DC9846
    • #3D2718

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Lubo Kristek over the last twelve months — 4 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 55.0%
    2. 2 United States of America 30.0%
    3. 3 Germany 10.0%
    4. 4 Hungary 5.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 17 most looked-at works by Lubo Kristek

    1. 1 Suite for Biophilic Piano Attacked by Masochistic Tuba, 1995 26.1%
    2. 2 First Revelation of Unknown Energy, 1974 8.7%
    3. 3 5 Minutes to 12, 1972 8.7%
    4. 4 The Moss-grown Phone Call, 1982 4.3%
    5. 5 Bird Mission, 1998 4.3%
    6. 6 The Door, 1992 4.3%
    7. 7 Automatic Trains of Thought – Desk, 1975 4.3%
    8. 8 Kristek House, 2018 4.3%
    9. 9 Barbed Wire of Christ, 1983 4.3%
    10. 10 Sea Horse, 1986 4.3%
    11. 11 Divine Ephemerality of Tone, 1994 4.3%
    12. 12 The Birth and Simultaneously Damnation of the Sphere, 1978 4.3%
    13. 13 Naděžda’s Chord, 2014 4.3%
    14. 14 Tree of Knowledge, 1981 4.3%
    15. 15 Toxic Destiny, 2020 4.3%
    16. 16 Soundproof Aesthetic of Luxuriety, 1976 4.3%
    17. — Lability, 1974 this painting 0.0%

    Together these works take 99.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 51 works by this artist, of which 16 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    Lability — Lubo Kristek Part 2 · In context

    About this artwork

    Lability — Lubo Kristek

    The Ephemeral Balance: Exploring Lubo Kristek's Lability

    To stand before Lubo Kristek’s Lability is not merely to observe an object; it is to engage in a delicate, almost precarious dialogue with entropy itself. This striking assemblage, dating from 1974, captures the very essence of modern existence—a state of perpetual, beautiful instability. The piece centers around a wooden structure crowned by a metal ball fashioned into a face, immediately drawing the viewer into its mechanical poetry. Kristek masterfully constructs an environment where balance is not a fixed state but a momentary triumph over gravity. It invites participation, compelling the observer to test the limits of equilibrium, mirroring the constant negotiation we undertake with the unpredictable currents of contemporary life.

    Symbolism of Uncertainty and the Self

    The title itself, Lability, speaks volumes about the artist’s preoccupation with flux. The artwork functions as a sophisticated toy—a tumbler whose inherent design dictates that any deviation from its center will inevitably lead to a return, suggesting a cyclical nature to human experience. Yet, this return is never guaranteed; it is always earned through effort. Kristek layers profound philosophical weight onto this seemingly playful mechanism. He speaks of the "architectonic of the soul," hinting at an inner structure—a labyrinth hidden within the wood itself—that requires specialized tools and deep excavation to even perceive. This suggests that the self, much like the sculpture, is a complex system, beautiful in its potential but constantly under the pressure of external forces.

    Materiality and the Echoes of Time

    What elevates Lability beyond mere assemblage is Kristek’s profound reverence for used objects. He possesses an almost archaeological sensibility, seeking out components that have already lived lives. For him, the history embedded within these disparate materials—the frequency of their previous states—is as vital to the artwork as the artist's hand. The face itself, rendered from a collage of wood, metal, and perhaps stone, embodies this principle; it is an accumulation of histories. Furthermore, the inclusion of surrounding elements in the photograph—the watchful horses, the ticking clocks, the silent chairs—suggests that Lability exists within a larger narrative space, where time itself is both measured and fluid.

    A Touch of the Mime and the Modern Condition

    The face’s specific depiction, resembling the mime artist Ladislav Fialka, adds a layer of poignant commentary. The mime, by profession, masters the art of conveying emotion through constraint and illusion. Here, Kristek seems to place this artistic archetype within the context of the "whipping boy"—a figure perpetually at the mercy of others' narratives. This juxtaposition forces us to question agency: are we the performers in our own lives, or merely objects manipulated by unseen hands? For collectors and designers seeking art that sparks intellectual conversation, Lability offers a potent meditation on freedom versus constraint, making it a centerpiece that demands contemplation.

    Bringing the Experience Home

    To reproduce the spirit of Lability in your own space is to invite a dynamic tension into your décor. While the original possesses its unique patina of time and struggle, acquiring a high-quality reproduction allows you to curate this conversation piece. It serves not just as decoration, but as a philosophical anchor—a beautiful reminder that life’s most profound moments are found in the delicate act of maintaining balance against the inevitable pull toward chaos.

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    Lability — Lubo Kristek Part 3 · About this artwork

    Artist and museum

    Artist

    Lubo Kristek

    Born in Brno, Czech Republic

    A Pioneer of Immersive Experience: The Life and Art of Lubo Kristek

    Born in Brno, Czech Republic, in 1943, Lubo Kristek emerged as a significant voice in the post-war European art scene, defying easy categorization. His artistic journey began during the turbulent 1960s, a period ripe with experimentation and a questioning of established norms. From the outset, Kristek demonstrated a restless spirit, refusing to be confined by traditional mediums or approaches. He wasn’t simply interested in creating objects; he sought to orchestrate experiences, blurring the boundaries between art, life, and audience participation. This early inclination towards challenging conventions would become a defining characteristic of his prolific career. The political climate of Czechoslovakia at the time undoubtedly fueled this desire for artistic freedom, pushing him toward explorations that were both conceptually daring and subtly subversive.

    From Assemblage to ‘Holographic Perception’

    Kristek's work is fundamentally rooted in assemblage – a technique of creating three-dimensional artworks from disparate found objects. However, he quickly transcended the purely formal aspects of this practice, imbuing his assemblages with layers of meaning and social commentary. His sculptures weren’t merely collections of materials; they were critical examinations of human vulnerability, medical ethics, and our complex relationship with the natural world. A pivotal moment in Kristek's artistic development came with his relocation to West Germany in 1968, following the Prague Spring. This move exposed him to new ideas and influences, solidifying his commitment to conceptual art, surrealism, and performance art. It was during this period that he began formulating his groundbreaking theory of “holographic perception.” Kristek believed that true artistic impact wasn’t achieved through a single, linear experience but rather through the simultaneous stimulation of multiple senses and emotions. He envisioned artworks as multifaceted environments designed to create a holistic, immersive experience for the viewer – akin to how a hologram contains all perspectives within its structure.

    Happenings, Nocturnal Vernissages, and Public Interventions

    The practical application of Kristek’s “holographic perception” theory manifested most powerfully in his happenings and nocturnal vernissages. These weren't conventional art openings; they were carefully orchestrated events designed to disrupt expectations and engage the audience on a visceral level. Often taking place at night, these gatherings blurred the lines between artist, artwork, and spectator. Kristek’s interventions extended beyond gallery walls, frequently spilling into public spaces. Works like Kristek House in Brno – a building transformed into a surreal architectural assemblage – demonstrate his commitment to making art accessible and challenging established notions of urban landscape. Another striking example is Promenade with a Neurotic Fox, a performance piece that confronted societal taboos surrounding death and mortality, inviting viewers to grapple with uncomfortable truths. His work Requiem for Mobile Telephones served as a poignant critique of our increasing dependence on technology, prompting reflection on the human cost of constant connectivity.

    Legacy and Lasting Influence

    Lubo Kristek’s contributions to contemporary art are profound and far-reaching. He didn't simply create artworks; he pioneered a new way of thinking about artistic experience. His emphasis on immersion, participation, and the integration of multiple media has influenced generations of artists working in performance art, installation art, and conceptual sculpture. While his work often tackles complex social and ethical issues, it never feels didactic or preachy. Instead, Kristek invites viewers to engage with these themes on their own terms, fostering critical thinking and emotional resonance. His legacy is preserved not only through the numerous museums and collections that house his works – including the Museum Kunstsalon Franke Schenk in Germany and the Cathedral Prague in the Czech Republic – but also through the continued exploration of his ideas by artists and scholars around the world. Discovering Kristek’s work, whether through reproductions or experiencing it firsthand, is an invitation to step outside conventional boundaries and embrace a more holistic, immersive understanding of art's power. His vision continues to inspire those who seek to create experiences that truly resonate with the human spirit.

    Museum

    Research Institute of Communication in Art

    On show in Brno, Czech Republic

    A Nexus of Art and Communication: Exploring the Research Institute of Communication in Art (RICA) Brno

    Nestled within the cultural landscape of Brno, Czech Republic, lies a singular institution dedicated to redefining our understanding of art – the Research Institute of Communication in Art (RICA). Established in 2006, RICA transcends the conventional boundaries of a museum; it’s an active research center, a vibrant archive safeguarding contemporary visual culture, and a publishing house committed to disseminating knowledge globally. Founded on the visionary principles of Lubo Kristek—a sculptor and painter whose conceptual assemblages powerfully interrogate perception—RICA champions artists who challenge established viewpoints and utilize diverse mediums to articulate complex narratives about our world.

    Collection Highlights:

    RICA’s core strength resides in its curated collection, focusing on contemporary art that confronts pressing societal issues. Notably prominent are works exploring themes of human fragility, ethical dilemmas within medicine, the intricate relationship between humanity and nature, and crucially, how these experiences communicate themselves.

    The Kristek Thaya Glyptotheque:

    A testament to RICA’s artistic ethos is the Kristek Thaya Glyptotheque, an ambitious sculptural pilgrimage route conceived by Lubo Kristek himself. This land art project seamlessly blends artistic expression with the natural beauty of Brno’s surroundings, inviting visitors on a contemplative journey and prompting reflection on interconnectedness and spirituality.

    Architectural Space & Accessibility:

    While RICA's physical building remains relatively understated in public descriptions, its commitment to digital accessibility is paramount. Leveraging partnerships like Google Arts & Culture, the institute offers immersive virtual tours, detailed artwork analyses, and interactive scholarly articles—making art’s communicative power accessible to audiences worldwide.

    Collaboration fuels RICA's intellectual vitality. The institute actively engages with international cultural institutions and experts, fostering a dynamic exchange of ideas that strengthens its research agenda. This ethos underscores RICA’s belief in the transformative potential of art historical scholarship—a conviction reflected in its unwavering dedication to open access knowledge.

    Digital Engagement: Bridging Artistic Horizons

    RICA's strategic alliance with Google Arts & Culture represents more than just logistical convenience; it embodies a fundamental commitment to democratizing artistic understanding. Visitors can embark on curated explorations of RICA’s holdings, delving into individual artworks and engaging directly with scholarly publications—all from the comfort of their homes. High-resolution images and interactive features breathe life into these pieces, fostering a deeper appreciation for their conceptual depth and visual impact.

    A Network of Artistic Inquiry

    International Partnerships:

    RICA’s collaborative spirit extends beyond national borders, nurturing dialogues between artists and researchers across continents. These partnerships enrich the institute's intellectual landscape and contribute to a broader conversation about art’s role in shaping cultural perspectives.

    Ongoing Exhibitions & Research Projects:

    Regularly scheduled exhibitions showcase groundbreaking artistic endeavors alongside cutting-edge research initiatives—demonstrating RICA’s proactive engagement with contemporary artistic trends and fostering critical discourse.

    Ultimately, the Research Institute of Communication in Art distinguishes itself not merely as a repository of artworks but as an incubator for innovative thought. It stands as a beacon of accessibility and intellectual curiosity—a place where art isn’t simply observed; it's actively interrogated, debated, and reimagined, ensuring its enduring relevance in an ever-evolving world.

    Where to read more

    Find this online

    QR code linking to the download page for Lability

    originaluniqueart.com/en/art/download/lubo-kristek-lability-D68JR4-en/

    Cite this artwork

    MLA
    Kristek, Lubo. Lability. 1974, Research Institute of Communication in Art. https://originaluniqueart.com/en/art/lubo-kristek-lability-D68JR4-en/
    APA
    Kristek, Lubo (1974). Lability [Painting]. Research Institute of Communication in Art. https://originaluniqueart.com/en/art/lubo-kristek-lability-D68JR4-en/
    Chicago
    Lubo Kristek. Lability. 1974. Research Institute of Communication in Art. https://originaluniqueart.com/en/art/lubo-kristek-lability-D68JR4-en/
    Harvard
    Kristek, Lubo (1974) Lability. Research Institute of Communication in Art. Available at: https://originaluniqueart.com/en/art/lubo-kristek-lability-D68JR4-en/

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    Lability — Lubo Kristek Part 4 · Artist and museum

    Look closely

    Lability — Lubo Kristek

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: assemblage, wooden sculpture, mime artist face. Do you agree? What would you add, or take away?
    4. Look back at Temptation of St Anthony (2022), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Lubo Kristek was about 31 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    Lability — Lubo Kristek Part 5 · Look closely

    Art quiz

    Lability — Lubo Kristek

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the title of the artwork described?

      • A The Tumbler
      • B Lability
      • C Architectonic Soul

    2. 2. In what year was 'Lability' created?

      • A 1931
      • B 1974
      • C 1960s

    3. 3. The face on the sculpture 'Lability' is modeled after which mime artist?

      • A Karel Velebný
      • B Ladislav Fialka
      • C Pablo Picasso

    4. 4. What concept does the artwork 'Lability' reflect regarding humanity in a postmodern world?

      • A Stability and permanence
      • B Uncertainty and unanchored nature
      • C Strict adherence to tradition

    5. 5. Besides the central sculpture, what other objects are visible in the photo description?

      • A Paintings of landscapes and portraits
      • B Horses, clocks, chairs, and a bowl
      • C Only wooden components and metal parts

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2A · 3A · 4A · 5A

    Check any answer against the catalogue record for this painting

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    Lability — Lubo Kristek Part 6 · Art quiz

    Questions & Answers

    When was "Lability" created, and to which movement does it belong?

    "Lability" was created in 1974 as a work of the Assemblage Art movement. Date and movement anchor the artwork in art history.

    What color harmony does "Lability" by Lubo Kristek display?

    The colors of "Lability" by Lubo Kristek show a unified palette harmony. Harmony describes how the colors relate to each other.

    Is "Lability" more bright or more dark overall?

    The recorded values for "Lability" by Lubo Kristek are: brilliant brightness, bright balance luminance.