This article analyses the spatial practices of a collective art project developed by Corporation Nouvelle, a group of modernist artists working in Portugal during the First World War. It investigates its formation and activities, while discussing the relationship between the ultra-peripheral places where these activities were designed, and the transnational-cosmopolitan profile that the group developed. The article revisits some well-known data on Robert Delaunay (1885–1941) and Sonia Delaunay (1885–1979), Amadeo de Souza Cardoso (1887–1918) and Corporation Nouvelle’s operations, resting on two interlocked theoretical determinants: the first questions the way we tend to think about space and place as objectified categories; and the second discusses how in art history the notions of center and periphery tend to operate as geographical locations and to function as discrete categories. The case study of Corporation Nouvelle helps to show that such binary opposition is far from exhausting the ways in which peripheral places are perceived and lived. It is also utilized to argue that geography matters: places of production are not mere locations but social constructs that entail a dialectical relationship between the perceived, the conceived, and the lived.

中文翻译：

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长途电话？社会空间和新公司的生产场所

本文分析了第一次世界大战期间在葡萄牙工作的一群现代主义艺术家 Corporation Nouvelle 开发的集体艺术项目的空间实践。它调查了它的形成和活动，同时讨论了设计这些活动的超外围场所与该集团发展的跨国-国际大都会形象之间的关系。这篇文章回顾了一些关于 Robert Delaunay (1885–1941) 和 Sonia Delaunay (1885–1979)、Amadeo de Souza Cardoso (1887–1918) 和 Corporation Nouvelle 运营的著名数据，基于两个相互关联的理论决定因素：第一个问题是我们倾向于将空间和地方视为客观化的类别的方式；第二部分讨论了艺术史上中心和边缘的概念如何倾向于作为地理位置运作并作为离散类别发挥作用。新公司的案例研究有助于表明，这种二元对立远未穷尽周边地区的感知和生活方式。它也被用来论证地理很重要：生产地不仅仅是地点，而是社会建构，它包含感知、设想和生活之间的辩证关系。