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ART MEDIATION WITHIN THE FRAMEWORKOF ART COMMUNICATION<\/strong><\/p>\n\n\n\n Kseniya I. Shimanskaya<\/strong><\/strong><\/p>\n\n\n\n Siberian Federal University, Krasnoyarsk, Russia<\/p>\n\n\n\n orcid.org\/0000-0002-6024-7529<\/a>, kseniya-shimanskaya@yandex.ru<\/a><\/p>\n\n\n\n Abstract. <\/strong>Art communication understood as the interaction between a work of art and the audience is an essential aspect of the art\u2019s life, vital to both sides of the relationship. However, art speaks with us in a foreign language. Its understanding, and hence the success of artistic communication itself, is the highest goal of art mediation, which has only recently declared its capabilities within the museum space. The purpose of this article is to analyze art mediation a topical teaching practice of interacting between a work of art and a viewer in the space of an art museum or gallery. The article gives a brief overview of the understanding of the concept of art communication by both foreign and domestic authors; analyzes the essence of the concept of art mediation, understood as a participatory practice, capable to teach visitors of art museums and galleries the language of art and its interpretation; its features such as openness, polyphony and personification are revealed, as well as its main \u2013 a Socratic dialogue, which involves the search for knowledge that is not present \u2013 is determined. An appeal to the projects of the Krasnoyarsk Museum Biennale \u201cNegotiators\u201d, which took place at the Krasnoyarsk Museum Center Ploshchad Mira in 2019, specifically to the installation of the artist Zadok Ben-David \u201cPeople I Have Seen, but Never did not met”. The analysis of the questions that visitors acquainted with the work, as well as the arguments obtained as a result of their search for answers, demonstrates the effectiveness of the dialogue between the viewer and the art-mediator from the point of view of mastering the language of art.<\/p>\n\n\n\n Keywords:<\/strong> art communication, art mediation, art interpretation, contemporary art, installation<\/p>\n\n\n\n For citation: <\/strong>\u0428\u0438\u043c\u0430\u043d\u0441\u043a\u0430\u044f, \u041a. \u0418. \u0410\u0440\u0442-\u043c\u0435\u0434\u0438\u0430\u0446\u0438\u044f – \u043f\u043e\u0441\u0440\u0435\u0434\u043d\u0438\u0447\u0435\u0441\u0442\u0432\u043e \u0432 \u0440\u0430\u043c\u043a\u0430\u0445 \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0439 \u043a\u043e\u043c\u043c\u0443\u043d\u0438\u0430\u0446\u0438\u0438 \/ \u041a. \u0418. \u0428\u0438\u043c\u0430\u043d\u0441\u043a\u0430\u044f \/\/ \u0421\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u0430\u044f \u0430\u043d\u0442\u0440\u043e\u043f\u043e\u043b\u043e\u0433\u0438\u044f \u0421\u0438\u0431\u0438\u0440\u0438. \u2013 2020. \u2013 \u0422. 1, \u2116 2. \u2013 \u0421. 6-12. \u2013 DOI 10.31804\/2687-0606-2020-1-2-6-12. \u2013 EDN JWAHIP.<\/p>\n\n\n\t\t