Kim Machan is founding director of MAAP and has developed curatorial projects in Australia and the Asia regions through this organisation since 1998. Previously she worked as an independent curator and producer initiating several projects in the mid 1990s including Art Rage: Art Works for Television involving 70 contemporary artists over four series broadcast on the ABC (1996-2000).
Machan has pioneered collaborative cultural partnerships with arts organizations and governments throughout the Asia regions to produce and curate major exhibitions, festivals, public art programs and innovative art projects. She has negotiated complex projects working with museums, galleries, contemporary art spaces, universities and non-traditional art settings in Australia and the Asia Pacific regions. In China, Machan has been able to take MAAP’s exhibitions into a range of institutions, including the China Millennium Monument Art Museum, National Art Museum of China, National Library of China, and China Academy of Fine Arts (Beijing), the China Academy of Art (Hangzhou), Hangzhou Library, Shanghai Library, and Guangdong Museum of Art, Guangzhou. In 2002, she curated (with Fan Di’an) ‘MAAP in Beijing: MOIST’, the first museum new media art exhibition presented in China. In 2008, she was curatorial advisor to ‘Synthetic Times: Media Art China 2008’ at the National Art Museum of China, which was a Beijing Olympics Cultural Project.
Recent curatorial projects include ‘Light from Light’ that won the highly distinguished Australian Arts in Asia Award for Visual Arts in 2013. She also curated and produced ‘LANDSEASKY: Revisiting Spatiality in Video Art’ that toured major museums and galleries in Seoul including Art Sonje; OCAT Shanghai; Guangdong Museum of Art, Guangzhou; National Art School Gallery Sydney; and Griffith University Art Gallery, Brisbane through 2014-2015. Machan has curated numerous solo exhibitions including Zhang Peili, Wang Gongxin, Shilpa Gupta, Yeondoo Jung. In 2016 she co-curated ‘Zhang Peili: From Painting to Video’ with Olivier Krischer and is a contributor to the exhibition’s publication of the same name, published by the Australian National University Press in 2019.
She is currently writing a PhD addressing the critical aesthetic reading of video art in East Asia that will also encompass a major museum exhibition considering the rise of video art in East Asia opening in 2020.