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Review: Saatchi’s Newspeak Part II

Breaking my daily regime of toast, study and etc; I found myself inside the Saatchi Gallery desperately crawling for some plus culture points after culling what little kudos I had over the weekend savagely procrastinating over Heat and X Factor. On right now is the second part of the Newspeak series, part II of Saatchi’s anthology of the latest and present: the exhibition of generation now.

The modern art industry’s current condition has never been more confused, more unbalanced. From aching, hardhearted cuts of the British Arts Council being announced one day to the successes of must-see labeled shows the next: its creative capacity is undoubtedly turbulent.  Representing the artists and purveyors of today; Newspeak’s mood and rationale parallels to the industry’s present circumstances: confused and incoherent.

Newspeak, translated as the Orwellian-founded language; the only language which declines in time is an ill-fitting tag: with Saatchi’s compilation there’s no motion of decline, no backwards-look. The showcase neither shows nostalgia, longing for lost talent or conviction to the future. The exhibition is a momentary shot of now, a frame in what’s happening at present- probably the most interesting idea behind it.

Stalking the bleach-white rooms searching through the bullshit, the flat, the boring is demanding, arduous (as is within the industry) . Where at points it harks back to horrific nights spent trying one’s hardest and, honestly, most sincere best to enjoy the teeth-seizingly blatant A-Level art shows; there were moments, rooms and spaces that were genuinely exciting, prepossessing even. Favourites and highlights stood from the hands and minds of Steve Bishop’s duality of assembled sculpture, Anne Hardy’s lucid photographic ‘paintings’ and Maurizo Anzeri’s haunting but transfixing sewn-multi-mediums.

With tempestuous ups and downs; there ultimately is no other time for Newspeak apart from now; in a year it’s premise will fade and years before it would be non-existential. As the art-world itself descends and ascends between weeks; Newspeak stands as the fundamental terminal for what art means at the moment: hit and miss, the good and bad.

- Erin Kubicki

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