This essay examines how Italian Futurism could be converted into new cultural capital, transferred into other countries and employed as a strategy in the early 1910s within the early Nordic European avant-garde. Around the years 1910-1911, the Italian artist Arturo Ciacelli (1883-1966) spent time in Paris in the circle of Robert and Sonia Delaunay before moving north with Elsa Strom, a Swedish artist he had married in Rome in 1909. Ciacelli sought to establish himself in Scandinavia not only as an artist, but also as an editor of the new journal Ny Konst (New Art, 1915) and as the director of a gallery for contemporary art. His Nya Konstgalleriet (New Art Gallery), founded in Stockholm in 1915, promoted Nordic and international avant-garde paintings until 1921. Ciacelli’s embrace of Futurism was less evident in his painterly work than in his theoretical statements, the most important of which was an incomplete Swedish translation of La pittura futurista: Manifesto tecnico (1910), based on the French edition of 1912 in the Bernheim-Jeune catalogue, entitled “Manifeste des peintres futuristes”. In the following pages, I shall present Ciacelli’s activities in Stockholm, Lund and Copenhagen, discuss the artist’s strategies for fostering trans-national migrations of avant-garde formations and discuss his Futurist-Malarnes Manifest of 1913.