The changes in the schemes of production and algorithms of communication most of which are often associated with the post-industrial society, in general, affect both spheres of culture, and, in particular, arts. In the middle of the XX century many aspects of culture could exist and develop independently. Now to optimally do it cultural actors unite in clusters. This transpires in creating both conceptual and situational unifications in the sphere of art culture, and in the business and political processes on which the clusters are based. The key distinction of cluster formations lies in the fact that by definition cluster formations develop decentrally, which leads to a series of difficulties in their defining and analysing. The advantage of a cluster consists in the total effect of interactions of all elements whose joint efforts yield the result surpassing each individual effect. The distinctive feature of an art cluster can be thought the existence of mobile and transformed elements making it possible to organize exhibition areas for various events and activities. The physical structure of these spaces is characterized by multi-element filling, and also by its coherence with season, an event subject, etc. The focus of this paper is the cluster structure formation features under conditions of modern Russia mediaculture.