Abstract: This article is devoted to the study of the manifestations of the artistic language of archaic art in such a direction of modern art as land art. The purpose of the article is to identify some of the prerequisites and goals of the appeal of land art artists to the discourse of archaic art through the visual language of archaic art and to reveal the features, motives and mechanisms of this language on the basis of cultural and art criticism analysis of land art art projects. The subject of the research is the artistic language of archaic art; the object is the artistic works and land art projects of British and American artists: A. Goldsworthy, R. Long, R. Smithson. The scientific novelty is due to the lack of research on land art as an example of the manifestations of the actualization of the archaic discourse in the modern world. As a result of the research, the prerequisites for the relevance of archaic artistic forms in land art are determined in the form of a general actualization of the archaic discourse in culture and the need to develop a new artistic language of interaction between man and nature. Using the example of land art projects, archaic forms are considered as a tool for constructing an artistic space that allows expanding the viewer's emotional interaction with nature. Examples of the use of characteristic archaic archetypal signs and symbols by land art artists in order to create an intuitively readable image of a mythological space are analyzed. The absence of a context of direct appeal to real archaic beliefs and sacred practices is revealed. A parallel is drawn between the method of direct interaction with nature when creating works of art by British land art authors with a minimal presence of a transformative aspect in economic activity in the archaic.