瞿暢是一位獨立策展人及寫作者，現駐留於巴黎國立高等美術學院（2022-2023）。她為嶺南大學文化研究係博士候選人，研究課題關注後改革開放時代中國大陸流行文化中「愛」的話語演變。此前，她為Para Site藝術空間策展人（2016-2020）。
她近期的工作圍繞情感、流行音樂、布料、飲食等視覺文化範疇之外的日常質感與體驗。嘗試用「持家」的方式與心情展開寫作、策展及其它藝術創作，她在煮飯、整理、打發時間的同時，亦時不時掃出家居死角中關於勞動、親密性和離散的塵絮。
2022年，她與葉慧發起長期研究項目「歌聲裡徘徊」，以流行樂的聲音生產和自我言說為入口，探入當代中國的情感政治；同年，她亦加入跨地域華人學習小組 HKMRRSG（Hong Kong-Mainland Relationship Repairment Study Group）。2021年起，她與郝敬班、沈莘、施昀佑共同發起「楔 xiē」，並於柏林 DAAD Galerie 呈現展覽「連接、嵌入、反射、承托」。2020至2021年，她為「錯地而行」成員。
她的策展項目包括「巴西咖啡室」（2019，Para Site）、「黯戀」（2018，这Para Site）、「陳泳因：硬忌廉」（2019，黃邊站）、「羅玉梅：那傳來浪聲的方向」（2018，香港巴塞爾）、「他/她從海上來」（2016，OCAT深圳），等。她長期為《Artforum》、《藝術界》、《Spike》等刊物撰稿。
Qu Chang is an independent curator and writer currently based in Paris, France, in residence with École des Beaux-Arts de Paris (2022–2023). She is a Ph.D. candidate at the Cultural Studies department at Lingnan University, Hong Kong. Her doctoral research focuses on the discourse of "love" in post-reform Mainland China. Previously, she served as a curator at Para Site art space, Hong Kong (2016-2020).
Her recent work revolves around everyday texture and experiences—feelings, pop music, fabric, food, among others—that escape the confinement of visual culture. Applying the moods and the methodology of “home-making” to exhibition, text, and art making, Qu acts to clean, cook, slack, and occasionally, from the corners of the “house”, mop out the dust of labor, intimacy, and displacement.
In 2022, Qu and Ye Hui initiated the long-term project Linger in Sounds, an artistic research that probes into the emotional politics in contemporary China via sound production and autobiographical utterance in popular music. She also joined the cross-region group HKMRRSG (Hong Kong-Mainland Relationship Repairment Study Group) in the same year. Since 2021, she is a member of 楔 xiē. Together with Hao Jingban, Shen Xin, Yunyu "Ayo" Shih, they presented the exhibition To Bind, Embed, Shimmer, and Brace at DAAD Galerie, Berlin (2022). From 2020 to 2021, she was also a member of FaultZone.
Her previous curatorial projects include Café do Brasil (2019, Para Site), Crush (2018, Para Site), Doreen Chan: Hard Cream (2019, HB Station), Law Yuk Mui: From whence the waves came (2018, Art Basel Hong Kong), Adrift (2016, OCAT Shenzhen), among others. Her writings appear in journals including Artforum, Frieze, Ocula, Spike, Yishu, among others.