Libor Fára (1925-1988) was Painter, graphic artist, typographer and set designer.His graduated from the Academy of Applied Arts in Prague in the studio of Emil Filla in the second half of the 1940s, developing his artistic opinion in the circle of the Prague Surrealists. Fára’s oeuvre is characteristic of a clearly defined polarity between improvisation and order, while inclining to magical Abstraction with a strong touch of aesthetics. The main fields of Fára’s interest were collages, assemblages and objects as well as photography. During the 1950s, Fára participated at various activities of artists, writers and theoreticians from the circle of Karel Teige. Even though his works, based on poetic construction were not created spontaneously, they recollect the production of the Fluxus movement. During the 1960s, Fára collaborated with the Prague theater Na Zábradlí for which he created many timeless stage designs and posters. Later he, however, withdrew from public life and ceased exhibiting; he rather focused on collages and large-dimensional assemblages composed of corroded metal sheets. Member of the group Máj (May; since the year 1957). Over the years 1963 – 1979 created twenty film posters. He focused on stage production after his studies, and he distinguished in it. He cooperated with E.F. Burian theatre from 1953, between 1962 and 68 with theatre Na Zabradli, from 1969 mostly with Cinoherni klub. First painting inspiration of surrealism (Deux visages, 1945) Fara slowly transfered to poetic absurdity, which he realised by collage technique or assemblage. He belongs to founder of Czech action stage design. He is well know because of designs for Jarry´s King Ubu (1964), Waiting for Godot (1965), Cechov´s The Kirschgarten and Hrabal´s Gentle Barbar (1981). He designed the cover and graphic for magazine Theatre between 1958–1970, he participate on graphic layouts of almost all important publications about theatre.
Jean Arp – Temps troué. papiers déchirés , 1951
( Galerie Bassenge, Berlin)