EN
This article is dedicated to re-examine the problematic of art geography in the era of globalization concentrated on the focus of the new 'postmodern' geographies and the 'spatial turn'. The authoress discusses about the map of art history on the case study of the DuMont's 'Atlas of World Art' (2004), which is the latest attempt to write the global history of art. The era of globalization brought a new idea of the national states without borders. . Social and cultural geographers have been also concerned with the globalization of cultural flows, mostly in relation to transnational migration and to a 'common global culture' as a very problematic concept. The notions of flow, fluidity, fluid spaces instead of a fixed space/place, mobility, deterritorialisation, unbelonging and non-spaces, relational networks as the opposite of natural/constant or absolute/Carthesian spaces demonstrate the axiomatic shift or even the end of traditional social geography. In spite of the Geography of Art developed a long time ago, recently Thomas DaCosta Kaufmann examined the geographical approaches in art history from early antiquity to the present day. This timely and important contribution to art history re-establishes the 'spatial dimensions/turn' of the discipline towards to 'complementary cultural dimension/turn'. From the 'Atlas of World Art' point of view the strategies of representation are limited because they represent the 'Second Europe' as non-urban, underdeveloped or backward. It is actually an empty space without flow. On one hand there is the rhetoric of the 'New Europe' today, Europe without borders or globalized space within which happened that Eastern Europe is on the map, on the other hand there are no visible distinctions - primary features (lack of exoticism mentioned by several occasions) identifying the East European 'Other' (the key word for postcolonial discourse).