Relational aesthetics in context of modern art practices

The author of this article is analyzing the main features of relational aesthetics as an influential theoretical concept, which was representing the analytics of the art institutions and art practices in the latter part of 20^th century and early 21st century. The specifics of the conceptual apparatus is shown: the characteristics of interpretation of classical terms «art», «artist», «modern (modernism)», as well as the projective notions «artistic appropriation», «postproduction», which demonstrate key aspects of the theory under consideration. The status of art representation is indicated, the extension of its borders and semantic fields in theory and modern art practice are noted. The author has paid special attention to the interpretation of the art form understood as the relationship, the situation, the specific experience, based on the interaction of the artist and the viewer in the institutional art environment (gallery, exhibition hall, biennale). The relationship between relational aesthetics, relational art and participatory art practices is shown, a tendency towards blending art and creativity is indicated. The relational aesthetics is proven to be an efficient instrument for the building of variational original scenarios for the development of modern art culture.