A Brief History of LMX (2013 - 2019) (2020 - )

The first iteration of LMX ULTD began in the Fragments of Fragment of Machines Conference hosted by the School of the Art Institute of Chicago in 2013. The open format seminar brought together several artists and lecturers around the title topic and out of the sessions came the core group of LMX collaborators and the eventual group show Xenoclimates and Sea Lanes also in Chicago. 

 

This formation of LMX, featuring 9 artists and writers, went on to participate in several conferences and show collective project work in multiple exhibitions. This includes papers given at Interface Media(s): Expanded Field Data Ecology (2014) @ School of Creative Media, City University of Hong Kong & New Industries Conference: Money and Debt in the Post-Industrial World (2015) @ Hartware MedienKunstVerein in Dortmund, Germany. This 2013-14 configuration culminated in the publication of The Submariner’s Diary: Living after the End of Earth (2015), a combinatory work of fiction and travelogue documenting fieldwork at several sub-seasteading facilities, co-published by Sternberg Press and The Institut für Kunstkritik in Frankfurt. 

 

As several members left to pursue individual practices, the group refocused into a tighter and more instrumental research collective. The final iteration of second, shorter lived, iteration of LMX is decisively marked by the disputed show at Fyrkant49 in Stockholm, Triton’s Black Submarines: Patchwork Coups and Sovereign Actors 1970-2016 and the accompanying chapbook of poetry, published by Brigade Editions. From May 2016 forward, LMX would continue as two discrete, parallel projects undertaken by different groups, Nero LMX which devolved into a publishing venture in Italy and Portugal and LMX Unlimited, which continued the work of institutional research. This page (LMX Unlimited) is not to be mistaken for the former and we claim no responsibility, investment or approval of their work, as they would surely take none in ours. 

 

Following another reconfiguration LMX Unlimited returned to a project begun in its submission to the 8th Berlin Biennale and in 2017 re-founded Baleen Journal which would produce 5 issues in the following 18 months and explore the groups reoccurring themes: Inter-Agency Intelligence Conflicts, Deep Sea Infrastructure and various applications of the Power Theory of Value. Funded through various arts institutions, the project reached its natural end in 2018 and while a retrospective of the period of LMX was formalized at a prominent arts institution, this formulation of LMX (LMX ULTD) did not participate or agree with the synthesis prepared by the ex-members who curated the exhibition.

 

The current LMX Unlimited (ULTD) is focused on the production of clothing and luxury objects. There is no art here, only an earnest attempt to make new products.

 

LMX ULTD is sponsored by the dual partnership conjunction of the Management Development Institute of Singapore in Tashkent and Tirotex ZAO. 

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