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Spiritual ARS Integral Improvisation "SVAROMFAL" the light of the centre

From the distant past man has been enchanted with sound and music and has the urge to understand, capture and write down personal sounds, tones, accords, harmonies and beauties of music of the living and unliving on and in the planet. A man has evolved by becoming aware of its beauty and significance, spiritual and material entity and the greatness it posses, carries and creates. By developing perception and senses, by knowing new sounds, creating new instruments and music, a man has been evolving spiritually and materially, he has been growing and creating and evolved into a whole being, that is inventive and authentic. The act of creating music itself is deeply spiritual and material process of creative relationship with oneself and surroundings. It is very important how to do it and how to approach to this process.

The first ‘Acoustic sculptures LABAT’, shortly ‘ASL’ sculptures, are made in the 70s. Then also began creative spiritual and experimental playing on them, called SVAROMFAL (the light of the centre). By playing and creating new ‘ASL’  sculptures, over time vocal and instrumental complexes were created and found their place in many scores of well known composers and performances over the world. Today there are many musical recordings, concerts, films, radio dramas, TV shows, performances and humanitarian and spiritual performances.

The act of creating itself – playing on a scene is a whole issue that represents authentic form of multimedial performance. During the performance on ‘ASL’ sculptures a spiritual ars-integral improvised form is created, between a new form of instrument (‘ASL’ sculpture), a new authentic sound and a new way of aliquotal playing and singing. Today, all those elements together: spiritual, aesthetic, visual and musical, with the right scenography, interesting exibition and a short introductory film, awake and incorporate in a person sleeping potential of conscience, unconscience and cosmic overconscience and activate in generic heritage of a hearer allhearing (sensitive and beyond sensitive) perception.

Creating spiritual ARS-integral improvised music is a spiritual and creative act in which a person, in certain moment and surroundings, creates multilayered musical form, incorporated by ars-integral act of improvisation.

After 40 years of making the first ‘ASL’ sculptures, the project SVAROMFAL (the light of the centre) has developed and evolved spiritually and materially and now it is called ARS-IN. It is still unique, authentic and inspiring by its multimedial content, as well as spiritual and material impact on a person and surroundings. Persons that make a group of performers are men of virtue of improvisation. The act of spiritual ars-integral improvisation is uncommon spiritual fusion of sound, ultrasound and aliquot musical content which provides to the audience unrepeatable spiritual, musical and scenic adventure.




Vladimir Rabat Rovnjev – sculptor, painter, graphic artist, songwriter, composer, poet and designer. Last few decades spiritual realities seeker. His father, Stevan, was a professor of physical education and his mother, Olga, also. Their family Rovnjev as a distinguished Russian nobility, gifted artistically, came to this area in 1920.
Elementary school, high school and Teachers’ college-department of arts, he graduated in Novi Sad. Until 1976, he practised tutorship, especially in education of arts.
Since 1979, he has been experimenting in the fields of sculptures, poetry, music and in development of spiritual energy. He releases LP album in 1979, RTV production, on the subject of ecology. He creates acoustic sculptures, he is one of the pioneers in the world, and since 1980 he has been performing on them, he plays concerts, makes exibitions, creates music for radio, television, theatre and film. All this is possible thanks to him knowing and using 16 different crafts, so he is able to connect his ideas as a sculptor and a musician who transforms that idea into a multimedial concept.
The author is also a participant of numerous exibitions, as his own or as a group, concerts in homeland and abroad and he was a guest in hundreds of TV and radio shows and gave many interviews.
One of his remarkable works he united when created the symbol of Yugoslav military and special forces SDB. The latest multimedial design ‘OMFAL’ and ‘SVAR’, created in 1996, an authentic design as such in the world, represent acoustic, energetic and visual structures and shapes, whose impact activate sensitive and overwhelming perception.
This form of creations leads a man into altered state of mind and graphic and spacious form permanently transforms and keeps in parallel dimension which we ‘SEE’ by perception which is all sensitive. He is a member of The Association of fine arts of Vojvodina, The Artists of Vojvodina, The Association of fine and applied arts of Vojvodina and The Association of Performing Artists. He is also in an international directory of significant persons.
He lives and works in Popovica and Petrovaradin fortress on Fruska Gora.


- Milos Arsic

A certain intention which represents in active meaning of artistic plot exists in Labat’s work. The function of art is under consideration, in its multimeaning way of resistance to existing unevitable followers of progress of our time. Phenomena of our civilisation, together with inherited wars, but existing atmosphere of unrest and an illusion of wealth even more, lead Labat into rebellion with means of arts. Therefore, his metamorphosis, regarding sculptures, music or poems, should be understood as a way of active artistic conscience, as synthetic entity of motivations and messages, expressed in adequate artistic language.

- Mihal Murin – music and fine art critic

...The sounds coming from instruments shape visual, acoustic and theatrical ‘image’ that goes through the time and in that way fullfill its multimedial function. Labat doesn’t find those sounds, he creates objects which initiate their finding. His knowledge he put into manifest Sculptures Omfal. They are about traditional symbolistic relations of all elements of an object and its harmonic organisation, which enables the sculpture to gather energy from space and to release it also... Objects, sculptures, graphics, musical instruments, together make energy space of mutual infusion of intellect and spirit and sensitive spectators can feel, hear and perceive positive energy. Musical magma is a sound of inner Earth but every man also; it enables uniting with music...

- Zaklina Milutinovic – fine arts critic

...We see Vladimir Labat as an artist who in his work uses experiences from everyday praxis and his own wide range knowledge from different areas, especially science and technics. With his multimedial actions he participates in wider artistic movements. His takes part as a complex author and therefore it puts him into spectators as well as actors and initiators of new events in the fine art scene. It is important to mention his general knowledge and activities in questioning borders in different fields. Experimenting in music and unconventional answers of problems in sculpting show his creativity as an explorer. This creativity he uses to create new artistic forms...

- Miroslav Antic – poet and painter

Vlada Labat carries a great performance within himself, a need to unite many arts, to study them, to tame them and then make a new premiere. Every time I meet him with a full rehearsal in some artistic field. Who knows, maybe the premiere will happen out of itself in fifty or hundred years. It never depends upon a person...

- Petar Popovic

It is a matter of courage to deal with dreams that occupy this artist. In this adventure, whose evident but not final shape is restless brass, drawings are in constant conflict with space, music aspires to unconquered spaces and verse not familiar with poetic idyll, Labat confirms the theory that a man can have endless interests, great desires and strong messages but remain true to oneself.

Vladimir Labat’s acoustic sculptures and music

Some pieces of art often inspire us to imagine and create an imaginary impression of our world. There are just few pieces that evoke every sense, of hearing and seeing and overwhelming spiritual sense like Acoustic sculptures of Vladimir Labat do. Vladimir Labat Rovnjev – a sculptor, painter, graphic artist, songwriter, composer, poet and designer, over decades creates and plays on unique acoustic sculptures. These sculptures lead us into a world, unfamiliar to us, a world we wish to reveal. And we should indulge. Music experts did this: they weren’t ashamed of abandoning academic knowledge and embracing this, bold and charming challenge of curiosity.

It is quite risky to define a work of creativity which breaks down the barriers among certain arts and combines them into a new creation.

We are due to understand him and then accept it or not. It was the only motif why Labat entered into a risk of unknown sounds working on his sculptures all those years. In 1979, he began a hard work on ‘capturing’ those metal sounds and their ‘channeling’, even controlling them. Labat’s previous musical experience  regarding this search was endless, it guaranteed certain motivation, perseverance and faith. Act of creation is a desire and a need that only predict the discovery and then others called it a success.

‘Playing on sculptures’ is likely a simplified contradiction. Maybe the thing is the other way round, it might be said that instruments are original sculptures. Whatever to decide, the truth is common: well known compositions played on these acoustic sculptures become almost new ones. And what about improvisations an possibilities of creating new musical pieces? As far as we know, the horizon is open. Are these instruments, therefore, already known?

Now you can assume what kind of objects are these you’re standing in front of, but still don’t know what they can do. That is the essence of Labat’s invention: to unite space and sound but do not know its size and what it is like. Watching and listening, but not seeing the end of it. Understanding and enjoying, but still wondering. Wondering is also an act of creation – not a reflection of spectator’s liberation of viewer’s responsibility.