This article questions the common historiography about the avant-gardes in the interwar period, in which Paris is often considered the international avant-garde capital city, with surrealism as its perfect model. It starts with the idea that the history of the avant-gardes (artists and artists’ groups who considered themselves or who were considered innovative) could be studied as “a social field,” but also an international field structured by mobility. It focuses on the circulation of avant-garde artists and their works, as well as the social, economic, financial, geopolitical, and colonial bases of these circulations, to understand how some groups, artists, stories, and centers managed to establish themselves better than others. Contrary to the regular narrative based on Parisian domination, a circulatory approach highlights that Paris isolated itself from avant-gardes in the 1920s, unlike the opening of Germany and Central Europe, and that the surrealists themselves were not so international until 1929. Looking at social groups, at their movements and circulation, as well as the various strategies deployed and the underlying geopolitical positions taken by artists after 1929, it shows that from 1929, the Parisian scene, and the surrealist movement in particular, very slowly became a new focus for new artistic generations. Paris only became a global center of avant-garde circulation after 1934 and surrealism then gradually became the focus of international artists’ careers. In this process, artists coming from the peripheries of Europe and the Americas, cultural transfers, and resemanticization processes played a central role.

中文翻译：

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外围流通，瞬态中心：两次世界大战期间（1918-1940）先锋派的国际地理

本文质疑两次世界大战期间前卫艺术的普遍史学，巴黎常被视为国际前卫之都，超现实主义为其完美典范。它始于这样一种想法，即先锋派（认为自己或被认为具有创新精神的艺术家和艺术家团体）的历史可以作为“一个社会领域”进行研究，但也可以作为一个由流动性构成的国际领域。它关注前卫艺术家及其作品的流通，以及这些流通的社会、经济、金融、地缘政治和殖民基础，以了解一些团体、艺术家、故事和中心如何设法更好地建立自己的地位相对于其它的。与基于巴黎统治的常规叙事相反，循环方法强调了巴黎在 1920 年代将自己与前卫艺术隔离开来，这与德国和中欧的开放不同，而且超现实主义者本身直到 1929 年才如此国际化。观察社会团体，以及他们的运动和流通随着 1929 年之后艺术家们所采取的各种策略和潜在的地缘政治立场，它表明，从 1929 年开始，巴黎的场景，尤其是超现实主义运动，非常缓慢地成为新艺术世代的新焦点。巴黎直到 1934 年才成为全球前卫流通中心，超现实主义逐渐成为国际艺术家事业的焦点。在这个过程中，来自欧洲和美洲周边的艺术家、文化转移和再语义化过程发挥了核心作用。