| Summary: | Since mid 20th century, the aesthetic representation field has suffered from displacement. Art (the artistic representation) is subjected to a double influence of internal factors and social relationships of an extra-artistic order that leads to a restatement of the goals and means that traditionally have defined its place in culture. In this context, the need of new textual and discursive forms have placed the art practices in spaces of intersection with other disciplines and other language experiences, which engage each time in different types of relationships with the public and with specific contexts. From the creative process, the artist builds statements with connected goals and in a situation of self-allusion. From the reception, the spectators and the critics pretations that make the work converse with the tradition and with the semantic resonances that participate in its field. The purpose of this work is to understand the dialogical dimension of these discourses and to interpret its communicative simultaneousness, relating their voices, their contexts and feelings from the enunciation theory (Bajtin) and the comprehensive hermeneutics (Gadamer, Ricoeur).
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