Vladimir Labat RovnjevVladimir Labat Rovnjev - a sculptor, painter, graphic artist, singer-songwriter, composer, poet and designer. In the last couple of decades an explorer of spiritual realities. The son of Stevan (father), physical education teacher, and mother Olga, also a physical education teacher, whose family - the Rovnjev’s, as prominent Russian nobility, artistically gifted, came to this region in 1920.

He finished the elementary, secondary and two-year post secondary school of pedagogy – art department in Novi Sad. He was engaged in teaching, in the area of art education until 1976.

Since 1979, until present he has been experimenting with sculpture, poetry, music and development of spiritual energy. In 1979 he publishes a singer songwriter LP album on the topic of environment protection, produced by RTB. He is one of the first artists in the world who have created acoustic sculptures and since 1980 he has performed numerous concerts, exhibitions and music features for radio, TV, theater and film on them. All of this has been particularly enabled by his practicality expressed through the knowledge and use of 16 different crafts by which he interconnects his idea as a sculptor, musician which converts the overall idea into a multimedia event.

The author has also participated in numerous individual and group exhibitions and concerts, in Serbia and abroad and participated in about a hundred TV presentations, radio and press interviews.

 He has won several awards at public competitions and exhibitions, in the country and abroad.


 He is the author of many memorial plates, coats of arms, signs, plaques, badges, medals, charts as well as architectural and interior art solutions.

 One of his significant author works in this area he is his creation of the symbol of the Yugoslav Army, and he also created the marks of special units. The latest round of multidisciplinary creations, under the titles of "OMFAL" and "SVAR" created since 1996, as a first creation of its kind in the worked, are acoustic-energy-light structures and forms, whose activity initiates in addition to the sensuous also the overall, completely sensuous perception (omnisensuous).

 This kind of creations makes a man enter a modified state of mind, and permanently transforms the graphical and spatial form and retains in the parallel dimension which we are able to "SEE" by omnisensuous perception. He is a member of the Association of Artists of Vojvodina, Association of art and applied art of Vojvodina, Association of entertainment artists. He has been listed into the international book of important persons.

He lives and works on Popovica and Petrovaradin fortress on Fruška Gora.


It has been said about Labat ...

Žaklina Milutinović - art critic


"... Through such types of artistic creation we can comprehend Vladimir Labat as an artist who in his work uses everyday experiences and his own wide range of knowledge from various fields, primarily from science and techniques. With his multimedia activity he becomes involved into more general art movements. His engagement as a complex author personality, classifies him not only among observers, but also among doers and initiators of new activities on art stage. Particular emphasis should be put on his high level of general culture and activities related to the examination of the borders of different disciplines. Experimental music and non-conventional solutions to sculptural problems reflect his explorative inventiveness by which he is creating new artistic forms ..."


Miroslav Antić – poet and painter


"... Vlada Labat carries in himself one large performance, a need to unify several types of art together, to study them, tame them and turn the result into a real premium. Every time I meet him it is with one rehearsal in some of art fields. Who knows, maybe this theatrical release shall be borne by itself after fifty or one hundred years. This never depends on a man ..."


Mihal Murin - music and art critic


"... The sounds spreading out of instruments are forming a visual, acoustic and theatrical ´image´ flowing, and thus fulfill its multimedia function. Labat does not discover the sounds; he creates objects which encourage their discovery. He piled up his knowledge into the ´manifest´ of the Sculpture Omfal, which talks about traditional symbolic relationships of all object elements and its overall harmonic organization, which enables the sculpture to gather the energy from the room, but also to release it... Objects, sculptures, graphics, musical instruments, in this way, create between themselves one energy space of mutual interlacing of intellect and spirit and give an opportunity to more sensible individuals to feel, hear and perceive positive energy. Music magma is the sound of the interior of the Earth, but also of each man; it enables merging with music ..."


Miloš Arsić


"... Rather than form, there is in Labat, a certain intention which reflects itself in an active, engaged meaning of the artistic activity. The point is in the function of art in multiple sense of resistance towards existing, inevitable accompanist of the progress of our time. Phenomena of this civilization, in addition to inherited wars, but even more the existing atmosphere of anxiety and the seemingness of the blessingness of time, direct Labat to the act of a certain rebellion by means which are the only ones available to him as an artist. And this why should understand his metamorphoses, sculptural, musical or poetical, as the forms of the only possible aspect of the active artistic consciousness, as synthetic units of a full unity of stimuli and messages, expressed by an adequate artistic language ..."


Petar Popović


"... To be occupied with the dreams that this artist is occupied with is a matter of courage. But in this adventure, whose perceptible but certainly not finite forms are the unrestful bronze, drawings in a constant conflict with space, the music which aims to unconquered areas and the verse which does not acknowledge idyll, Labat confirms the theory that the man can have countless interests, great stimuli and strong messages, but still remain true to himself ..."


Vladislav Bajac - Acoustic sculptures by Vlada Labat


"... When you happen to find yourself in front of objects you do not know what they are, and these are (righteously named) Acoustic sculptures by Vlada Labat, it will happen to you what has already happened to others: a childlike curiosity is replaced by wonder. You are entering a world that is unknown to you, but which you would like nevertheless to discover. And let yourself surrender to the desire. Because, musical experts have behaved the same: they have not been embarrassed to take off the shield of academic knowledge in front of this, simultaneously arrogant and charming daring of curiosity.

It is risky to define a creative act which simultaneously is demolishing the borders among individual arts and connecting them into a new artistic creation. It would be recommendable to understand it and subsequently to (un)accept it. It was, by the way, the only motive of Labat taking the risk of unknown sounds he was receiving while working on his sculptural works for so many years. In 1979 the painstaking work on ´capturing´ of these sounds of metal was initiated and also an attempt of their channeling, if not even their control. Labat’s previous musical experience in this research represented a bottomless well: it provided correct motivation, resilience and faith. Creative act is a desire and need which only anticipate the discovery. (Others would subsequently name it success).

´Playing music on sculptures´ is probably a simplified contradiction. Because the point maybe in vice versa: it should be rather said that this is about instruments which were originally sculptures. Whatever option you chose, the truth remains common: already recognized compositions when played on these acoustic sculptures become almost new composition. And where shall improvisations and possibilities in creating new musical acts end? As long as the answer is not known, the horizon remains open. Is this not already putting these instruments, at least, among those already recognized? Therefore, even if we already know in front of what kind of objects we are standing, we still do not know what their possibilities are. Here lies the essence of Labat’s invention: to unify the space and sound, without knowing how big it is and what it is like. To look and listen, and not see the end. Comprehend and enjoy, but probably be still Wondering. Because wondering is also a creative act – not the reflection of observer’s freeing oneself of perceptive responsibility ..."