40 years! This makes me feel old.

I've only watched half but I must say that overall I was impressed.  I enjoyed a lot of the newer artists.  

There is some hope for 21st century painting.

The sculpture and installations were old hat.

some real gems here by artists i had no knowledge of like Ospina....good choice of music...happy holidays!

Hey 👋🏻! Liked very much u know, can not tell u liked me anything in particular so it's an excellent glimpse of what art is telling us in 2025 !!! ( ...or at least from this part of the world)
Well my friend merry Christmas and as always thanks u 🙏🏻.

I am liking olivia bax. Thank you

My favourite gallery in all of London! Was much better though around a decade ago when the gallery still showed pieces from Charles Saatchi’s actual collection

Jenny Saville's paintings always remind me of pulp fiction paperback book covers, where I feel they belong, while Gavin Turk's glass maze reminds me of the hall of mirrors  in the fairground of New Brighton of my childhood. Jake Chapman has lost the plot, yet more derivative stuff. It's difficult to comment on stuff unknown to me without seeing it in the flesh but I don't feel excited enough about the exhibition to invest in a trip to London to see it.

A really enjoyable show- not too many duds on the lower floor(mainly by Jake Chapman),but good stuff by Polly Morgan, Olivia Bax and Tim Noble. The upper floor was nearly 100% for me, Petroc Sesti's piece just being the start. Spent ages trying to work out what was happening to me in Chris Levine's piece. I like artwork that appears humorous at first sight but has a far darker meaning - Gómezbarros. I saw 20-50 for the first time on my own in silence - a bit different to when the Hayward showed it and the queue was too long for me to join.

nice dub techno soundtracking!

Saatchi feels just like any other distracting sensation sideshow these days, or It might just be me, because there have been  rather a lot of  solar orbits and flushes since I first encountered Brice Marden's methodically applied waxy colour fields and Judd's long rhythmic serial  ply wall piece at Boundary Road;  that seemed to give (under the changing natural light above) the segmented and partitioned negative space, in and around it, a strange palpable thickness, somehow  amplifying and affirming its presence.  Only at that time, in that vast open space of the old paint factory,  just myself and the work, uninterrupted by any other distractions in my field of view, and for as long as it took - did I have such a transformative experience.  🐒

Sometimes it takes more than 40 years for the truth of substance over mediocrity to reveal itself.

Makes me wish I lived in London, but there's no way I could survive on $1700/month there. Unless I commit crimes. And I'm feckless at that, so I could live in jail there.

Saatchi has done some much damage to art, with his commercial slop.

Thanks or showing this. I was going to go, but now won't. What a pile of unmitigated bilge. Apart from the Richard Wilson.

The music makes this unf***ing watchable!

Watching the 2nd. Dopeys comments, the earlier stuff is crap.
Engine oil when you could have used any reflective material? It's b.s..

🤮🤮🤮🤮🤮🤮🤮🤮🤮🤮🤮and 🤮