Most models of cultural globalization describe circulation to and around conventional cultural centers. The art world becomes more inclusive, but its fundamental hierarchies remain in place. In this paper, we describe another form of cultural globalization called “decentering”, which involves the circulation and increased interconnectedness between peripheries, either with or without their integration to cultural centers. Using a mixed methods approach, we examined the global circulation of artists from Argentina, Lebanon, and South Korea in the past 20 years (2000–2019). The results show their works circulated to a broader range of destinations, more rapidly than their early artistic cohorts, without necessarily passing through traditional art centers. This trend was particularly true for younger artists. We attribute the increasing prominence of decentering to three factors: (1) The mobility of early artists that enables later artists to gain recognition without physically migrating, (2) the role of vernacularizers, and (3) labeling as categorization. Our research contributes to understandings of cultural globalization by demonstrating how these factors broaden the geographies of the global contemporary art world and encourage more vibrant artistic circulation within and between peripheries.

中文翻译：

---

与（迁出）艺术家一起迁移艺术：离开全球艺术界


大多数文化全球化模型都描述了传统文化中心及其周围的流通。艺术世界变得更加包容，但其基本等级制度仍然存在。在本文中，我们描述了另一种形式的文化全球化，称为“去中心化”，它涉及边缘之间的流通和日益紧密的联系，无论它们是否融入文化中心。使用混合方法，我们研究了过去 20 年（2000-2019 年）阿根廷、黎巴嫩和韩国艺术家的全球流通量。结果表明，他们的作品传播到更广泛的目的地，比早期的艺术群体传播得更快，而不必经过传统的艺术中心。这种趋势对年轻艺术家来说尤其如此。我们将 decenter 的日益突出归因于三个因素：（1） 早期艺术家的流动性使后来的艺术家能够在不进行物理迁移的情况下获得认可，（2） 白话化者的作用，以及 （3） 作为分类的标签。我们的研究通过展示这些因素如何拓宽全球当代艺术世界的地理范围并鼓励边缘内部和之间更有活力的艺术流通，为理解文化全球化做出贡献。