Саатчи галереясы: Лондонның заманауи өнер мұражайы

Physical and online contemporary art museum in Chelsea, London

The Saatchi Gallery is a London gallery for contemporary art and an independent charity opened by Charles Saatchi in 1985. Exhibitions which drew upon the collection of Charles Saatchi, starting with US artists and minimalism, moving to the Damien Hirst led Young British Artists, followed by shows purely of painting, led to Saatchi Gallery becoming a recognised authority in contemporary art globally. It has occupied different premises, first in North London, then the South Bank by the River Thames, and finally in Chelsea, Duke of York's HQ, its current location. In 2019 Saatchi Gallery became a registered charity and began a new chapter in its history. Recent exhibitions include the major solo exhibition of the artist JR, JR: Chronicles, and London Grads Now in September 2019 lending the gallery spaces to graduates from leading fine art schools who experienced the cancellation of physical degree shows due to the pandemic. The gallery's mission is to support artists and render contemporary art accessible to all by presenting projects in physical and digital spaces that are engaging, enlightening and educational for diverse audiences. The Gallery presents curated exhibitions on themes relevant and exciting in the context of contemporary creative culture. Its educational programmes aim to reveal the possibilities of artistic expression to young minds, encourage fresh thought and stimulate innovation. In 2019, Saatchi Gallery transitioned to becoming a charitable organisation, relying upon private donations to reinvest its revenue into its core learning activities and to support access to contemporary art for all.

The Saatchi Gallery opened in 1985 in Boundary Road, St John's Wood, London in a disused paint factory of The first exhibition was held March—October 1985 featured many works by American minimalist Donald Judd, American abstract painters Brice Marden and Cy Twombly, and American pop artist Andy Warhol. This was the first U. K. exhibition for Twombly and Marden. These were followed throughout December 1985 – July 1986 by an exhibition of works by American sculptor John Chamberlain, American minimalists Dan Flavin, Sol LeWitt, Robert Ryman, Frank Stella, and Carl Andre. During September 1986 – July 1987, the gallery exhibited German artist Anselm Kiefer and American minimalist sculptor Richard Serra. The exhibited Serra sculptures were so large that the caretaker's flat adjoining the gallery was demolished to make room for them. From September 1987 – January 1988, the Saatchi Gallery mounted two exhibitions entitled New York Art Now, featuring Jeff Koons, Robert Gober, Peter Halley, Haim Steinbach, Philip Taaffe, and Caroll Dunham. This exhibition introduced these artists to the U. K. for the first time. The blend of minimalism and pop art influenced many young artists who would later form the Young British Artists (YBA) group. April – October 1988 featured exhibited works by American figurative painter Leon Golub, German painter and photographer Sigmar Polke, and American Abstract Expressionist painter Philip Guston. During November 1988 – April 1989 a group show featured contemporary American artists, most prominently Eric Fischl. From April – October, the gallery hosted exhibitions of American minimalist Robert Mangold and American conceptual artist Bruce Nauman. From November 1989 – February 1990, a series of exhibitions featured School of London artists including Lucian Freud, Frank Auerbach, Leon Kossoff and Howard Hodgkin. During January – July 1991, the gallery exhibited the work of American pop artist Richard Artschwager, American photographer Cindy Sherman, and British installation artist Richard Wilson. Wilson's piece 20:50, a room entirely filled with oil, became a permanent installation at the Saatchi Gallery's Boundary Road venue. September 1991 – February 1992 featured a group show, including American photographer Andres Serrano.

In an abrupt move, Saatchi sold much of his collection of US art, and invested in a new generation of British artists, exhibiting them in shows with the title Young British Artists. The core of the artists had been brought together by Damien Hirst in 1988 in a seminal show called Freeze. Saatchi augmented this with his own choice of purchases from art colleges and "alternative" artist run spaces in London. His first showing of the YBAs was in 1992, where the star exhibit was a Hirst vitrine containing a shark in formaldehyde and entitled The Physical Impossibility of Death in the Mind of Someone Living. This was funded by Saatchi. It has become the iconic work of 1990s British art, and the symbol of Britart worldwide. More recently Saatchi said, "It's not that Freeze, the 1988 exhibition that Damien Hirst organised with this fellow Goldsmiths College students, was particularly good. Much of the art was fairly so so and Hirst himself hadn't made anything much just a cluster of small colourful cardboard boxes placed high on a wall. What really stood out was the hopeful swagger of it all." Saatchi's promotion of these artists dominated local art throughout the nineties and brought them to worldwide notice. Among the artists in the series of shows were Jenny Saville, Sarah Lucas, Gavin Turk, Jake and Dinos Chapman and Rachel Whiteread. Sensation opened in September at the Royal Academy to much controversy and showed 110 works by 42 artists from the Saatchi collection. In 1999 Sensation toured to the Nationalgalerie at the Hamburger Bahnhof in Berlin in the autumn, and then to the Brooklyn Museum of Art, New York, creating unprecedented political and media controversy and becoming a touchstone for debate about the "morality" of contemporary art.

Meanwhile, other shows with different themes were held in the gallery itself. In 1998, Saatchi launched a two part exhibition entitled Neurotic Realism. Though widely attacked by critics, the exhibition included many future international stars including; Cecily Brown, Ron Mueck, Noble and Webster, Dexter Dalwood, Martin Maloney, Dan Coombs, Chantal Joffe, Michael Raedecker and David Thorpe. In 2000 Ant Noises (an anagram of "sensation"), also in two parts, tried surer ground with work by Damien Hirst, Sarah Lucas, Jenny Saville, Rachel Whiteread, the Chapmans, Gavin Turk, Tracey Emin and Chris Ofili. During this period the Collection was based at '30 Underwood St' an artist Collective of 50 studios and four galleries, the gallery made several large philanthropic donations including 100 artworks in 1999 to the Arts Council of Great Britain Collection, which operates a "lending library" to museums and galleries around the country, with the aim of increasing awareness and promoting interest in younger artists; 40 works by young British artists through the National Art Collections Fund, now known as the Art Fund, to eight museum collections across Britain in 2000; and 50 artworks to the Paintings in Hospitals program which provides a lending library of over 3,000 original works of art to NHS hospitals, hospices and health centers throughout England, Wales and Ireland in 2002. After the Gallery moved from Boundary Road, the site was redeveloped by the Ardmore Group for residential use, under the name 'The Collection'.

In April 2003, the gallery moved to County Hall, the Greater London Council's former headquarters on the South Bank, occupying of the ground floor. 1,000 guests attended the launch, which included a "nude happening" of 200 naked people staged by artist Spencer Tunick. The opening exhibition included a retrospective by Damien Hirst, as well as work by other YBAs, such as Jake and Dinos Chapman and Tracey Emin alongside some longer established artists including John Bratby, Paula Rego and Patrick Caulfield. Hirst disassociated himself from the retrospective to the extent of not including it in his CV. He was angry that a Mini car that he had decorated for charity with his trademark spots was being exhibited as serious work. and "I'm not Charles Saatchi's barrel organ monkey He only recognises art with his wallet he believes he can affect art values with buying power, and he still believes he can do it." (In July 2004, Hirst said, "I respect Charles. There's not really a feud. If I see him, we speak, but we were never really drinking buddies.") In 2004, Saatchi's recent acquisitions (including Stella Vine) were featured in New Blood, a show of mostly little known artists working in a variety of media. It received a hostile critical reception, which caused Saatchi to speak out angrily against the critics. Saatchi, said that most YBAs would prove "nothing but footnotes" in history, and sold works from his YBA collection, beginning in December 2004 with Hirst's iconic shark for nearly £7 million (he had bought it for £50,000 in 1991), followed by at least twelve other works by Hirst. Four works by Ron Mueck, including key works Pinocchio and Dead Dad, went for an estimated £2.5 million. The sale was compared to his sale in the 1980s of most of his postwar American art collection. On 28 September 2005, the gallery announced a move to new and larger premises in the Duke of York's Headquarters, Chelsea, though Saatchi said it was "tragic" to leave. On 6 October 2005, a court case began, brought by the owners and landlord of County Hall, the Shirayama Shokusan Company and Cadogan Leisure Investments, against Danovo (Saatchi was its majority shareholder), trading as the Saatchi Gallery, for alleged breach of conditions, including a two for one ticket offer in Time Out magazine and exhibition of work in unauthorized areas. The judgment went against the gallery; the judge, Sir Donald Ratee, and ordered the gallery off the premises because of a "deliberate disregard" of the landlords' rights. On 8 October 2006, Danovo was forced into liquidation with debts around £1.8 million, having failed to pay the court ordered penalty.

On 9 October 2008 the Gallery opened its new premises, described in The Observer as one of "the most beautiful art spaces in London", in the Duke of York's HQ on Kings Road, London, near Sloane Square. The building was refurbished by architects Paul Davis + Partners and Allford Hall Monaghan Morris. It consists of 15 equally proportioned exhibition spaces "as light, as high, and as beautifully proportioned as any in London". The main opening exhibition was of new Chinese art, The Revolution Continues: New Art From China, bringing together the work of twenty four young Chinese artists in a survey of painting, sculpture and installation, including Zhang Huan, Li Songsong, Zhang Xiaogang, Zhang Haiying and conceptual artists Sun Yuan & Peng Yu. The show's focus was on political issues surrounding China's Cultural Revolution and also the contemporary political context. The decision to open with The Revolution Continues was directly influenced by global interest in China as a result of the 2008 Beijing Olympics. Jackie Wullschlager in the Financial Times said it was "the most persuasive showing of contemporary Chinese art yet mounted in this country", and, contrasting it with the "deadly" contemporaneous Turner Prize show, "Saatchi's collection of Chinese art is one that Tate would kill for, and could not begin to afford"; she said that it was "an example of a private museum grand and serious enough to compete with national institutions." More recent exhibitions include the London leg of the touring show Tutankhamun: Treasures of the Golden Pharaoh, the solo exhibition of the artist JR, JR: Chronicles, and London Grads Now in September 2019 lending the gallery spaces to graduates from leading fine art schools who experienced the cancellation of a physical degree show due to the pandemic (described by critic Waldemar Januszczak in The Sunday Times as "a good idea. Saatchi Gallery deserves a slap on the back for organising this selection of work from grads shows, a highlight of every art student's education".

Saatchi Gallery's goal is to show contemporary work that would otherwise not be seen in London institutions such as Tate Modern. The gallery's ex head of development, Rebecca Wilson, said, "The gallery's guiding principle is to show what is being made now, the most interesting artists of today. It's about drawing people's attentions to someone who might be tomorrow's Damien Hirst." The gallery's aim is to make art more accessible to the mainstream, rather than an exclusive artworld pursuit.