“One of the most striking fanzines of recent years is Laura Oldfield Ford’s Savage Messiah, focussing on the politics, psychology and pop- cultural past of a different London postcode. Ford’s prose is scabrous and melancholic, incorporating theoretical shards from Guy Debord and Marc Augé, and mapping the transformations to the capital that the property boom and neoliberalist economics have wrought. Each zine is a drift, a wander through landscape that echoes certain strands of contemporary psychogeography. Ford—or a version of her, at least—is an occasional character, offering up narcotic memories of a forgotten metropolis. The images, hand-drawn, photographed and messily laid out, suggest both outtakes from a Sophie Calle project and the dust jacket of an early 1980s anarcho-punk compilation record: that is, both poetry and protest.”
—Sukhdev Sandhu, New Statesman
“The consumer-friendly face of neoliberal Britain gets an anarchic makeover in Laura Oldfield Ford’s politically biting work. … No false promises of a brighter, better, more sanitised tomorrow here. Instead, she focuses on areas haunted by an urban dispossessed, which regeneration seeks to concrete over: city wastelands where fortress-like old tower-blocks rise, with their Escher-like walkways and bleak “recreational” open spaces.”
—Skye Sherwin, Guardian
“Oldfield Ford displays authentic gifts as a recorder and mapper of terrain. She is a necessary kind of writer, smart enough to bring document and poetry together in a scissors-and-paste, post-authorial form.”
—Iain Sinclair, Guardian
“This black-and-white, cut ‘n’ paste-style zine by the artist Laura Oldfield Ford, in which she traces her psychogeographical drifts around London’s grimey underbelly, has achieved cult status in art circles since its first issue in 2005. Be warned: this is a city you won’t find in any guidebook.”
—Independent
“Savage Messiah’s fractured narratives, clipped sloganeering and topographical poetics have been, for the last decade or so, a kind of solace for anyone who loathed the coked-up arrogance, the intellectual and political vacuity and compulsory amnesia of the boom. It was a constant reminder that bad times were just around the corner.”
—Owen Hatherley
“A rallying cry to resist gentrification, council house sell-offs, the “right-to-buy” scandal, social cleansing [and] working-class marginalisation.”
—Jamie Johnson, Morning Star
“A vital, artful, and sensually rich act of documentation, urgently observing the life of a city as swathes of its physical and cultural landscape are lost to privatisation”
—Oisín McKenna, Time Out
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