选择乡村,在今天,无异于就是选择逃避。北京所出现的“宋庄艺术家群落”现象,艺术家们自觉下放乡村可以说就是源于对城市以及对现代社会的不适应而产生的集体逃逸。这个现象出现在90年代后期并延续直今,某种意义上,已经明显不再相同于90年代初所出现的“圆明园画家村”现象,尽管生活在当时圆明园和现在宋庄的艺术家基本上是属于同一拨人,但在其价值倾向上却是有了截然相反的区别。如 Choosing a country today is tantamount to choosing to evade. The “Songzhuang artist community” phenomenon that emerged in Beijing and the artist’s deliberate release of the countryside can be said to have originated from the collective escape from the city and the incompatibility with modern society. This phenomenon occurred in the late 1990s and continues today. In a sense, it is obviously no longer the same as the “Summer Palace painter village” phenomenon that emerged in the early 1990s. Although the artists living in Yuanmingyuan and now Songzhuang were essentially Belonging to the same appropriation, but in its value orientation there is a diametrically opposite difference. Such as