The historical study of art in relation to geographical space has for a long time been biased by the “canonical logic” of the centre–periphery narrative. This text takes as its starting point a methodological critique of this binary framework by using an example from Swedish art history, namely the art historical narrative of 1950s Sweden as a slumbering Nordic province slowly being awoken by the heroic and foresighted efforts of the Swedish curator Pontus Hultén. The text analyses two local contexts between 1944 and 1953: a presumed periphery, Stockholm, Sweden, and a presumed centre, Paris, France, and the collaboration between individuals in these two spaces. In focus is a 1953 exhibition in Paris of Swedish abstract art from 1913 to 1953. The text concludes with a methodological discussion arguing that by considering “the material conditions of encounters and exchange”, it becomes clear that the transnational contacts in these cases were spurred by local competition and that they were mutually dependent, rather than a product of diffusions of aesthetic innovation from centre to periphery.

中文翻译：

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从保证金到保证金？斯德哥尔摩巴黎轴（1944–1953）

与地理空间有关的艺术史研究在很长一段时间以来一直受到中心-外围叙事的“规范逻辑”的偏见。本文以瑞典艺术史为例，对该二元框架进行了方法论性的批判，即以1950年代的艺术史叙事作为瑞典沉睡的北欧省，缓慢地被瑞典策展人Pontus的英勇和远见卓识所唤醒。赫尔滕 文本分析了1944年至1953年之间的两个地方背景：一个假定的外围地区，瑞典斯德哥尔摩，一个假定的中心地区，法国巴黎，以及这两个空间中个人之间的协作。焦点是1953年在1913年至1953年在巴黎举行的瑞典抽象艺术展览。