Lubo Kristek

File:Lubo Kristek creating in Penzing.jpg

In the 1960s, Kristek lived in a former soap factory, in Hustopeče, where he organised events incorporating music, visual art, poetry, theatre and improvisation.{{cite news|last1=Smola|first1=Vojtech|title=Moje jizni Morava|work=Deník|date=24 August 2016|page=5|language=cs}} Testing of borders, experiments, and crossing the conventional frame is typical for his work. He follows the idea of a total work of art – Gesamtkunstwerk.Půtová 2018, [http://glyptotheque.com Chapter: Lubo Kristek: The Sun King in the Theatre of His Own World] At that time, he also experimented with using fire as a means of expression. He deliberately suppressed or sometimes annulled his artistic handwriting.{{rp|21}}

Image:GuentherZ 2015-07-04 (113) Podhradí nad Dyjí-Freistein Haus Lubo.JPG]]

In 1968, Kristek emigrated to West Germany. He settled in Landsberg am Lech and lived there for almost three decades.{{rp|6}} That was also where he started the tradition of Kristek's Night Vernissages, from which his happenings evolved.{{cite book | date = 2010 | title = Lubo Kristek: Schlösschen Lubo | isbn = 9788025479773 | location = Brno | language = de | publisher = VÚKU }}{{cite web|url= https://www.kulturne.com/clanek/surrealista-lubo-kristek-chysta-landstejne-jedinecnou-vystavu-a-happening |title=Surrealista Lubo Kristek chystá Landštejně jedinečnou výstavu a happening

|website=kulturne.com| date=31 May 2015| access-date=6 July 2020|language=cs}} From Landsberg, Kristek travelled to other places in Europe (Belgium, Luxembourg, Liechtenstein, the Netherlands, France, Italy, Spain, Republic of San Marino, Switzerland, Austria) to study and create.Schwabe 1977, p. 16.Jurgeleit 1986, p. 71.

Kristek was influenced by Arno Lehmann who lived in Salzburg, where Kristek used to go to meet him.{{cite web|url= http://www.znojemsko.cz/2019/03/02/zpetne-zrcatko-etelita-sedm-desatep/ |title=Zpětné zrcátko ételitá-sedm-desatěp |website=Znojemsko.cz |date=2 March 2019 |access-date=6 July 2020 |language=cs}}{{rp|84}} In 1973, after Lehmann's death, Kristek created the sculpture Soul shaped by flame.{{cite news|url= https://www.novinky.cz/vase-zpravy/clanek/mendelova-univerzita-v-brne-poradala-vystavu-lubo-kristka-na-zamku-krtiny-40167984 |title=Mendelova univerzita v Brně pořádala výstavu Lubo Kristka na zámku Křtiny | last=Veselá |first=Sárka |website=Novinky.cz |date=19 October 2015 |access-date=6 July 2020 |language=cs}} A sphere dominates the top as a symbol of artistic heritage that Kristek adopted from Lehmann.

He was also influenced by the Austrian ethologist Eberhard Trumler (1923–1991), especially by the mechanisms of survival of the species. Kristek's existencial assemblage Expecting (1969) was created under this influence.{{rp|27,33}}

In 1977, Kristek travelled through the west coast of the United States and Canada with his exhibition tour American Cycle 77.American cycle 77 2011.{{cite news|title=Exhibit of Art, Sculptures |work=Los Angeles Times |location=Los Angeles |date= 2 June 1977 |page=184 }}{{cite news|title=Calendar |work=Los Angeles Times |location=Los Angeles |date= 19 June 1977 |page=408 }}

In 1989, after the Velvet Revolution, he returned to Czechoslovakia. He settled in Podhradí nad Dyjí in a house where there is a gallery of his works today (Lubo Chateau).{{cite web|url= https://www.czecot.com/tourist-attraction/53087_lubo-chateau-gallery-podhradi-nad-dyji/ |title=Lubo Chateau - gallery |website=Tourist portal CZeCOT.com |access-date=6 July 2020}} On the apex of the house, he located the sculpture Divine Ephemerality of Tone – a piano balancing on one leg.{{cite news|last1=Kresse|first1=Ina|title=Einen Karren voller klänge mitgebracht|work=Landsberger Tagblatt|date=3 August 1994|page=19|language=de}}{{cite web|url= https://www.knihovnazn.cz/kalendarium/69-rok-2003/1885-kvten.html |title=Kalendárium |website=knihovnazn.cz |date=29 May 2009 |publisher=Znojmo City Library |access-date=6 July 2020 |language=cs}}{{rp|112}} Writer Jaromír Tomeček unveiled the sculpture in 1994 and, on the basis of the artwork's title, he called the entire neighbouring area of the Thaya Kristek Valley of the Divine Ephemerality of Tone.Lubo Kristek: Happening-Schaffen im Thayatal 2013. Václav Jehlička wrote in this context in his foreword for the publication issued by the Neues Stadtmuseum, Landsberg am Lech in 2008:

{{Blockquote |In his manifestations, Kristek balances on a fragile node that joins various styles and means of expression. Even one of his life symbol is such – a piano rearing up on one leg on the top of the roof of his studio in the Czech Republic.{{rp|4}}}}

Image:Lubo Kristek,1991,Denkmal für die fünf Sinne, Neues Stadtmuseum, Landsberg am Lech.jpg

Kristek made sculptures in several techniques, such as bronze casting, repoussé and chasing, welding and combined techniques using materials like stone, wood, metal, ceramic and found objects. His sculptures can be found as public artworks mainly in Germany and the Czech Republic.

His 1978 ceramic sculpture Birth and Simultaneously Damnation of the Sphere,{{rp|12}} is today located, as a public work of art, in a chapel at the John's Castle near Podivin, Czech Republic.{{cite news |url=https://breclavsky.denik.cz/zpravy_region/kristek-ozivil-nadezdinym-akordem-u-janohradu-sochu-20130526.html |title=Kristek oživil Naděždiným akordem u Janohradu sochu |website=Breclavsky.denik.cz |publisher=Vltava Labe Media |date=26 May 2013 |access-date=6 July 2020 |language=cs}}{{cite web |url=https://www.drobnepamatky.cz/node/27499 |title=Kaplička v Podivíně na rozcestí u Janova hradu |website=Drobnepamatky.cz |access-date=6 July 2020 |language=cs}}

Kristek's 16-metre-high sculpture Tree of Knowledge (1981) that he made for the Ignaz-Kögler-Gymnasium (high school) in Landsberg am Lech rises up through three floors of the building.{{cite news |url=https://www.augsburger-allgemeine.de/landsberg/Denkmal-fuer-die-fuenf-Sinne-id5554891.html |title=Denkmal für die fünf Sinne |website=augsburger-allgemeine.de |publisher=Augsburger Allgemeine |date=19 March 2009 |access-date=6 July 2020 |language=de}}{{cite news |last=Etschmann |first=Walter |date=11 November 1981 |title=Kunst am Bau in Landsberg |work=Landsberger Tagblatt |page=36 |language=de}} The Munich magazine Steinmetz + Bildhauer noted:

Image:Lubo Kristek,1992,Der Windharfenbaum,Metallplastik,460cm.jpg

{{Blockquote |One could hardly imagine a more inseparable and fruitful unity of art and architecture. Where could we find, in the field of art in architecture, a comparable example in Rhineland over the last twelve years?{{cite magazine |year=1982|issue=5|title=Kunst und Bau |magazine=Steinmetz + Bildhauer|page=396 | language=de}}}}

In 1988, Kristek created the bronze fountain The Drinking for the Theresianbad Greifenberg, Germany.{{cite magazine |last=Kerschner |first=Johanna |year=1982|issue=12|title=Lubo Kristek in Landsberg |magazine=Applaus: Münchner Kultur-Magazin|page=80| language=de }}{{rp|4}}

Kristek's metal sculpture Monument to the Five Senses (1991) is part of the collection of the Neues Stadtmuseum, Landsberg am Lech. It is located in front of the museum since 1992.Tzschaschel 2015, p. 80.{{cite news |title="Fünf Sinne" fürs Stadtmuseum |work=Landsberger Tagblatt |date=17 November 1992 |page=18 |language=de}}

In 1992, he made a kinetic sculpture called Tree of the Wind Harp.{{rp|9}} This wind propelled musical artwork is located at the Pohansko Chateau, Czech Republic.{{cite web |url=https://www.turistika.cz/mista/pohansko-strom-vetrne-harfy/detail |title=Pohansko - strom větrné harfy |website=Turistika.cz |access-date=6 July 2020 |language=cs}}

In 2006, Kristek created bronze sculpture The Seekers that was located on the confluence of the rivers Thaya and March.{{rp|13}} The sculpture was stolen in 2009; only a fragment left.{{cite news |first1=Martin |last1=Mostek| first2=Daniel |last2=Smola| url=https://znojemsky.denik.cz/zlociny-a-soudy/ukradli-kristkovu-tri-a-pul-metrovou-sochu-za-mili.html |title=Ukradli Kristkovu tří a půl metrovou sochu za milion |website=Znojemsky.denik.cz |publisher=Vltava Labe Media |date=5 December 2009 |access-date=6 July 2020 |language=cs}} Using the fragment, Kristek created a new metal sculpture for the place and called it The Seekers – Organic Forms. The sculpture was inaugurated in 2015.{{cite news |first1=Martin |last1=Mostek| first2=Daniel |last2=Smola| url=https://znojemsky.denik.cz/kultura_region/surrealista-lubo-kristek-odhalil-organicke-formy-20150817.html |title=Surrealista Lubo Kristek odhalil organické formy |website=Znojemsky.denik.cz |publisher=Vltava Labe Media |date=17 August 2015 |access-date=6 July 2020 |language=cs}}

The Czech art historian Barbora Putova wrote:

{{Blockquote | Just like a medieval artist, Kristek personally welds, grinds and carves his sculptures. From many aspects his free-standing statues represent a surreal parallel with the paintings of the Czech painter Mikuláš Medek (1926–1974), the German painter Max Ernst (1891–1976) and the Spanish painter Salvador Dalí. This is documented in particular by Kristek's metal sculptures Monument to the Five Senses (1991) and Tree of the Wind Harp (1992).}}

In 2005–06, he created a sculptural pilgrims' way dedicated to the river Thaya. It runs along the river Thaya through the Czech Republic, Austria and Slovakia.{{cite web|first=Silvie|last=Mitlenerová|url=https://iforum.cuni.cz/IFORUM-15104.html|title=Jedenácté zastavení si musí každý najít sám|website=iForum: Charles University Online Magazine|publisher=Charles University|date=10 March 2014|access-date=5 March 2018|language=cs}}{{cite news |first=Markéta |last=Dušková |url=https://www.5plus2.cz/file.aspx?d=25.%205.%202018&n=PETPLUSDVA&e=ME-ZNOJMO&t=pdf |title=Raději veverky než civilizace |publisher=5plus2 |date=25 May 2018 |pages=1–2 |language=cs}} Kristek linked together the sculptures to inspire people to take a walk through the landscape.Půtová 2018, [http://glyptotheque.com/index.php/stations-of-the-glyptotheque/prehistory Chapter: Stations of the Glyptotheque – Prehistory] The route includes eleven stations, which were open by the series of ten happenings.Lubo Kristek: Happening-Schaffen im Thayatal 2013, pp. 34–35. The eleventh's station remains secret as a challenge for the pilgrim. Kristek said that the pilgrims' way "should also be a protection against the devastation of the parent riverbed. If a person experiences culture here, perhaps he will not behave so unkindly to nature."{{cite news|first=Frantisek|last=Strecha|date=8 June 2005|title=Sochar Lubo Kristek plánuje navléknout Dyjí devet korálku|work=Rovnost|page=7|language =cs}} The project was under the auspices and was supported by the five regions of the three states it runs through.Půtová 2018, [https://www.glyptotheque.com/index.php/imprint Imprint]{{cite book |title=Kulturbericht 2006 |url=http://www.noe.gv.at/noe/Kunst-Kultur/Kulturbericht_2006_klein_2.pdf |year=2006 |publisher=Amt der Niederösterreichischen Landesregierung, Abteilung Kultur und Wissenschaft |location=Vienna |page=21}}

Critical assemblages by Lubo Kristek{{cite web|url= http://www.kdykde.cz/clanky/aktuality/odhaleni-asamblaze-hudebni-sursum-v-kristkove-dome

|title=Odhalení asambláže Hudební sursum v Kristkově domě |website=Kdykde.cz |date=5 November 2019| access-date=6 July 2020}} address various social phenomena, such as oppression, consume approach, addiction to new technologies, and the medical ethics.

One of his early assemblages, called Vision – Burning of Christ (1964) belongs to his artworks shaped by flame. The burned Christ symbolizes "melting of faith" in Czechoslovakia at that time.{{rp|20}}

The assemblage Metastation of Abandoned Tones was created in 1975–76.Schwabe 1977, p. 12.{{rp|4}}{{cite news |url= https://www.idnes.cz/brno/zpravy/lubo-kristek-umelec.A180726_416899_brno-zpravy_krut |title=Přemýšlej a najdi si v tom něco, říká o svých dílech umělec Kristek |website=iDNES.cz |date=5 August 2018 |access-date=6 July 2020 |language=cs}} It is connected to Kristek's emigration from Czechoslovakia to Germany, for which he was sentenced, in absentia, to 1.5 years in prison and the confiscation of all his property in Czechoslovakia.{{rp|26}} Kristek included his coat and hat in which he was fleeing over the border in 1968 in the assemblage.{{rp|62}} The piece is exhibited at the Ruegers Palace, Riegersburg, Austria.

Kristek addressed the subject of hidden traps in modern society in his assemblage Soundproof Aesthetic of Luxuriety, which he created in 1976.Půtová 2018, [http://glyptotheque.com/index.php/meeting-point/lubo-kristeks-artistic-reflection-of-the-postmodern-world Chapter: Meeting place]

In the 1980s, he made assemblages out of objects he found during his wanderings as in Barbed Wire of Christ (1983) created on the coast of CantabriaForeword by Václav Jehlička in: Neunzert 2008, p. 4. and Sea Horse (1986) made of material that was cast out by the sea on the Italian coast near Rome.{{rp|65}} His assemblage On the Landfill of Ages (1994) is made of industrial waste.{{rp|23}}{{rp|65}}

Kristek's artwork In the Prematurely Cloned Age of One Planet (2003) is dedicated to the ethical context of cloning.{{rp|35}}{{rp|35}} It was also a main motif of his happening Visio Sequentes or Concerning the Prematurely Cloned Age of a Planet that occurred in 2003 in Znojmo, Czech Republic.{{cite news|title=Tief in den Katakomben|work=Kreisbote|date=9 July 2003|language=de}}

In 2015–2017, the artist transformed his house in Brno into a monumental assemblage Kristek House.{{cite web|url=http://www.ceskatelevize.cz/ct24/regiony/2324767-dum-performera-kristka-bude-dejistem-filmu-dominuje-mu-sisyfuv-stroj-a-mohutne-ruce|title=Dům performera Kristka bude dějištěm filmu|website=Ceskatelevize.cz|publisher=Česká televize|date=6 December 2017|access-date=5 March 2018|language=cs}}

{{Gallery

|title=Assemblages by Lubo Kristek

|align=center

|width=120 |height=140

|Image:Lubo Kristek,Die Tragende,1969,assemblage,130x60 cm.jpg|Expecting (1969)

|Image:KristekLubo-MetastationDerZurückgelassenenTöne.jpg|Metastation of Abandoned Tones (1975–76)

|Image:Lubo Kristek,Entlärmte Ästhetik des Luxuriesens,1976,Assemblage,152x101cm.jpg|Soundproof Aesthetic of Luxuriety (1976)

|Image:Stacheldraht-Christi by Lubo Kristek.jpg|Barbed Wire of Christ (1983)

|Image:Sea Horse by Lubo Kristek.jpg|Sea Horse (1986)

|Image:Lubo Kristek On the Landfill of Ages.jpg|On the Landfill of Ages (1994)

|Image:Lubo Kristek,2003,Im vorzeitig geklonten Zeitalter eines Planeten,Assemblage,250x150x110cm.jpg|In the Prematurely Cloned Age of One Planet (2003)

|Image:Lubo Kristek,Requiem für die Mobiltelephone.jpg|Requiem for Mobile Telephones (2007–2010)

|Image:Lubo Kristek, 2010, Apotheose des menschlichen Gehirns, Assemblage, 220x170cm.jpg|Apotheosis of Human Brain (2010)

|Image:Kristek-house.jpg|Kristek House (2015–2017)

}}

File:KristekLubo-AllseitigeHochspannung.jpg

Image:Himmelsautobahn_der_Tante_Fränzi_by_Lubo_Kristek.jpg

In 1977, Kristek created a monumental altar painting for the sacral space, the cemetery chapel in Penzing, Germany. He called the 7 m high painting Transcendental Composition between Suffering and Hope.{{cite news |date=1 March 1977 |title=Raum für Phantasie im Sakralen |work=Augsburger Allgemeine |page=14 |language =de}}

He has created his specific vocabulary in paintings. As far back as the 1970s, one can find a road, which is mostly bordered by the arches of bridges and which rises up, in his paintings. He calls it "the heavenly highway". The oil painting The Heavenly Highway of Aunt Fränzi (1974–75), which is today part of Neues Stadtmuseum's collection, is an example of early use of this symbol.

The ballerina or the dancer is the central theme of Kristek's paintings and happenings. The development of symbol in time reflects the changes in postmodern society. In the painting Billiards for Life and the Ballerina (1987), she personifies the vitality in the world of constant metamorphosis.Schlösschen Lubo, p. 27. However, in the happening The Way of the Cross (2014), the ballerina consumes all that is left after the destruction. In the painting Peculiar Pole Vault (2016), the ballerina appears as Death.{{rp|88}}

Another Kristek's lifelong motifs are tree with two apples and intergrowth or penetration of forms.Půtová 2018 [https://www.glyptotheque.com/index.php/meeting-point/chateau-lubo Chapter: Chateau Lubo]

Kristek has organised happenings in Germany, the US, Canada, Italy, Spain, Czech Republic, Austria, Turkey, Belgium, Poland and Slovakia.Lubo Kristek: Happening-Schaffen im Thayatal 2013, p. 40. His events can be described as happenings, performances or sometimes even site-specific, but he uses the original expression happening, because the involvement of the public as well as the authentic experience are crucial for him.{{citation needed|date=June 2020}}

Image:Lubo-kristek-in-landsberg.jpg

In 1971, he started the Kristek's Night Vernissages in his studio with garden in Landsberg am Lech.{{rp|6}} They served as a meeting point for sculptors, painters, musicians, poets, philosophers and also the visitors. The magazine Collage noted that artists from Germany, Canada, England and the USA gathered there in 1976.{{cite magazine |first=Sven|last=Mueller|year=1976|issue=3|title=Das kunstvolle Leben des Bildhauers: Lubo Kristek |magazine=Collage: Zeitschrift für Literatur und Grafik|page=30| language=de }} These experiments were at the interface between theatre, music, improvisation and ritual. Kristek studies the crowd behavior,Půtová, Barbora (2013). Kristek's Glyptothek im Thayatal (in German). Brno: VÚKU. {{ISBN|9788090554818}}. OCLC 892780553{{rp|72}} explores the border between performer and audience, and also the death taboo in his happenings. The motifs of death, the illness of society and doom are counterbalanced by birth or rebirth, liberation from shackles and intergrowth of forms.

The magazine Medizin + Kunst analyzed Kristek's happenings:

{{Blockquote |In his artistic process we can see the linkage to Freudian psychoanalysis, his happenings and performances are conducted in the spirit of the so-called 'Activité Paranoique Critique' of Salvador Dalí, and in them the artist has the possibility to develop his uncommon abilities in them and go into a trancelike state – with a wholly unexpected end. (…) Yet at the same time Lubo Kristek looks for the opening of new spaces, he attempts to vibrate the unknown places of the spectators' soul, and the intention of his performance is the force of creation and artistic intuition to even overcome death mentally.{{cite magazine |first=Johanna|last=Kerschner|year=1994|issue=3|title=Landschaften Räume der Seele von Lubo Kristek |magazine=Medizin + Kunst: Das Kunstmagazin für den Arzt in Praxis und Klinik|pages=20–22|language =de}}}}

In 1975, Kristek went for a walk with a fox's skeleton on a leash on the colonnade in Landsberg am Lech and observed the reactions of the people. His aim was to study the crowd behavior and the death taboo.Půtová 2018, [http://glyptotheque.com/index.php/history-and-happenings/introduction Chapter: History and Happenings – Introduction]

Kristek's performances can often be interpreted as a critique of consumerism.{{cite news|last1=Smola|first1=Daniel|title=Vesnici sokoval nocní happening|work=MF DNES|date=4 July 2002|page=9|language=cs}} At the climax of his happening in 2002 in Podhradí nad Dyjí, he crawled out of bowels of a cow carcass{{cite news|url=https://brnensky.denik.cz/serialy/lubo-kristek-surrealisticky-demon-podhradi20080707.html|title=Lubo Kristek, surrealisticky demon z Pohradi|newspaper=Brněnský Deník|date=7 July 2008|access-date=6 August 2018|language=cs|last1=Škarda|first1=Petr}} to read his manifest against the destructive and self-destructive tendencies of society.{{cite web|url=https://artsandculture.google.com/asset/pyramidae-klipteon-ii-lubo-kristek/sgGJfP4EDzkU7w|title=Pyramidae-Klipteon II|website=Google Arts & Culture|access-date=3 July 2020}}

This piece took place at the Znojmo Castle, Czech Republic in 2003. The artist dissolved the boundary between the auditorium and the stage. In the climax of the happening, he dispersed the artists, mentally disabled people, amongst the spectators. The spectators were quite shocked and looked around uncomfortably to find out who is who. Kristek forced them to wonder where the boundary is and whether it exists at all. His aim was to evoke a threshold situation, when the shocked spectator is shifted outside his stereotypes and has the possibility to re-evaluate them.

File: Lubo Kristek,2007,Requiem für die Mobiltelephone,Wien.jpg

In 2007–2010, Lubo Kristek presented an interactive assemblage Requiem for Mobile Telephones that originated in a series of his happenings. The audience gave up their mobile phones and participated in incorporating the phones in the assemblage.Půtová 2018, [http://glyptotheque.com/index.php/meeting-point/requiem-for-mobile-telephones Chapter: Meeting place – Requiem for Mobile Telephones] Kristek travelled with this happening series to the Czech Republic (Znojmo),{{cite news |title=Našijte si mobil na Kristka! |url=https://znojemsky.denik.cz/kultura_region/kristek_mobil_20070412.html |website=Znojemsky.denik.cz |publisher=Vltava Labe Media |date=12 April 2007 |access-date=8 July 2020 |language=cs}} Austria (Vienna),{{cite news |title=Kristek předvedl svůj um ve Vídni |url=https://znojemsky.denik.cz/kultura_region/kristek_viden_20070428.html |website=Znojemsky.denik.cz |publisher=Vltava Labe Media |date=28 April 2007 |access-date=8 July 2020 |language=cs}} Germany (Landsberg am Lech){{cite news |last=Rieger |first=Manuela |date=12 May 2008 |title=Kunst zum Nachdenken |url=https://www.augsburger-allgemeine.de/landsberg/Kunst-zum-Nachdenken-id3697011.html |work=Augsburger Allgemeine |access-date=8 July 2020 |language=de}} and Poland (Sucha Beskidzka) and the assemblage kept changing. The project was aimed against addiction to modern technologies.

Lubo Kristek formulated his theory of holographic perception. He does not organise scenes in a linear manner in his performance art pieces. On the contrary, there are several different actions happening at the same time during Kristek's event. According to his theory, a far more plastic and holographic picture is formed in the mind of the spectator. The layering of scenes and meanings results not in a disruption of the perception, but in its sharpening. It evokes activity and creativity in the spectators.

Kristek's work in various media is interconnected. His artwork in one media becomes a means of expression for an artwork in another media. For example, his sculpture Pyramidae-Klipteon became a prop for his happening Gate to a New Dimension (2012). Then, the artist used the scene from the happening in his oil painting Landscape of Senses with Supported Clouds (2013).Půtová 2018 [http://glyptotheque.com/images/03-history-and-happenings/lightbox/lubo-kristek-landscape-of-senses-with-supported-clouds.jpg Online]{{rp|72}}

The art historian Hartfrid Neunzert noted on Kristek's legacy in his foreword for the monography published by the Neues Stadtmuseum in 2008:

{{Blockquote |It is not persumptious to claim that Lubo Kristek is one of the few artists who followed their creative callings now for almost a lifetime and set particularly sustainable momentums.{{rp|5}}}}

{{reflist}}

• {{cite book|last=Schwabe|first=Nick|title=Lubo Kristek: Individual Visions of Sculptures from the Last 8 Years, 1968–1976|year=1977|location=Vancouver|oclc=1120009882}}
• {{cite book|last1=Jurgeleit|first1=Peter|last2=Hellerer|first2=Frederike|last3=Hellerer|first3=Heinz|title=Schwäbische Künstlerprofile / 1. Allgäu, Bayerisches Schwaben|year=1986|location=Herrsching|publisher=Vorlag Fredrike Hellerer|isbn=3925976000|language=de}}
• {{cite book|title=Slovník českých a slovenských výtvarných umělců 1950 - 2001 (VI. Kon - Ky)|year=2001|location=Ostrava|publisher=Výtvarné centrum Chagall|isbn=80-86171-06-X|language=cs}}
• {{cite book|title=Schlösschen Lubo: Auswahl aus der Sammlung des Schlösschens Lubo quer durch die Geschichte|year=2010|place=Brno|publisher=VÚKU|isbn=9788025479773|language=de}}
• {{cite book|title=Lubo Kristek: American Cycle 77, Philosophical Approach to the Questions of Form (selected works)|year=2011|location=Brno|publisher=VÚKU|isbn=9788025498453|oclc=791305280}}
• {{cite book|last=Půtová|first=Barbora|title=Kristek's Glyptothek im Thayatal|language = de|year=2013|location=Brno|publisher=VÚKU|isbn=9788090554818|oclc=892780553}}
• {{cite book | date = 2013 | title = Lubo Kristek: Happening-Schaffen im Thayatal | isbn = 9788090554801 | location = Brno | publisher = VÚKU | language=de}}
• {{cite book|last=Tzschaschel|first=Hans-Jürgen|title=Schätze aus den städtischen Sammlungen des neuen Stadtmuseums Landsberg am Lech|url=https://www.freundeskreis-landsberger-museen.de/publikationen/|language = de|year=2015|location=Landsberg am Lech|publisher=Freundeskreis der städtischen Museen Landsberg e.V.|oclc=946758642}}

• [http://www.lubokristek.net/ Official Website]

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