Huge lines, red-carpet swagger and happy-papping, the promise of glitzy, attention-grabbing art and the worthy atmosphere of democratisation (the "Admission Free" signs are as big as those for the gallery itself – perhaps it's more like Noblesse oblige). The long-awaited opening of Charles Saatchi's new gallery in Chelsea last night, a year or so later than scheduled, felt like a throwback to the days of Cool Britannia.
It's well known though that Saatchi hasn't unearthed any new gems, especially not a whole movement, since anointing a new generation of British artists in the 1990s. So in lieu of a new sensation, Saatchi, like so many others in search of a new idea, is looking to China. What a shame then that The Revolution Continues, the inaugural show in his new home at the Duke of York's parade grounds, is so mediocre and nostalgic for past glories – not of Chinese art, but of Saatchi himself.