The prehistoric tumuli complex of Purić–Ljubanj near Vrbanja in the Spačva Basin, Županjska Posavina

Na Purić-Ljubnju nalazi se 116 netaknutih i jedan oštećeni prapovijesni tumul. Nalazište je smješteno u ritualnom krajoliku koji se nalazi u spačvanskom šumskom bazenu na istoku Hrvatske. Pet sezona terenskog rada pokazalo je kako nalazište pripada razdoblju kasnoga brončanog doba, s keramičkim nalazima grupe Belegiš II. Ovdje su se odvijali složeni postupci depozicije vezani uz komemoraciju pokojnika. Terenskim pregledom šireg krajolika otkriveno je još 15 nalazišta s tumulima sličnog karaktera kao Purić-Ljubanj, a koji se također nalaze na prostoru spačvanskog bazena u županjskoj Posavini. Broj tumula na nalazištima varira od samo jednog do 178. Na Purić-Ljubnju nalazi se 117 tumula, od kojih su se na tri vršila istraživanja.Purić-Ljubanj consists of 116 pristine, and 1 damaged, prehistoric tumuli located in a wider ritual landscape in the Spačva Forest Basin in eastern Croatia. Five seasons of fieldwork have revealed that this tumuli complex can be confidently identified as belonging to the Late Bronze Age period, with ceramic finds that belong to the Belegiš II group. It is a place where complex depositions related to burial practices took place. A survey of the wider landscape has revealed another 15 sites with tumuli that appear to be of a similar character to Purić-Ljubanj situated in the area of Županjska Posavina in the Spačva Basin. The numbers of tumuli at each site vary from just one to 178. At Purić-Ljubanj there are 117 tumuli, three of which have been subject to excavation

Art, Technique and Ideology: between Italian and Croatian New Tendencies.

The aim of this essay is to show how, from the 1950s to early 1970s, arts and technologies evolved side by side owing to the new practices borrowed from the legacy of abstract art. Both in Italy and Croatia, several left-wing scholars wrote on the relations between art and technology as an important factor of social progress. On this basis, it was implied that the leftist ideology had a decisive effect on the new artistic attitudes. These took place in Zagreb during the Nove tendencije exhibitions, held in 1961 and 1963 respectively, where several kinetic and so-called "programmed" artworks were displayed. However, just after the 1965 edition of Nove tendencije, Italian artistic research was changed by the Arte Povera movement in 1967. As a consequence, the gap between "programmed" art the Left increased. Although in Italy such changeover caused a complete break in the relationship between art and technology, in Zagreb the last Tendencije exhibitions, held in 1969 and 1973 respectively, combined the computer-based and conceptual art trends with left-wing radicalism