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Born in 1998 in Jiangsu Province, Muyang Teng is a queer Sinophone artist-writer whose practice navigates fluid spaces between languages, bodies, and borders. Their name—evoking both “shepherd” and “ocean-blessed”—reflects an ethos of simultaneously guarding and dissolving boundaries through poetry, experimental film, and critical theory.

Shifting between Chinese and English, and bridging traditional and contemporary epistemes, their work explores the moments when seemingly fixed surfaces—skin, meaning, difference—blur into new possibilities. Fueled by childhood struggles with speech, their intimate poetic language uses fragmentary forms and bilingual practices to construct politically charged spaces. Like region-locked songs, these works carry displaced stories beyond the scope of purely theoretical discourses, conjuring unexpected dialogues between East Asian philosophies and contemporary queer theories beneath what might appear as failure.

As a self-proclaimed “amateur” (in the original sense of “lover”), Muyang treats queerness not merely as an identity but as a methodology—examining how racial and gender/sexual identifications materialize and unravel across cultural translations. Through critical fabulation and subversive humor, they reconstruct histories too minute for official archives, suggesting how marginalized bodies might transform liminal positions into sites of resistance. Working with, rather than against, ambiguity, they imagine alternative modes of connection and survival.

Currently pursuing an MA at the Dutch Art Institute (DAI), Muyang holds an MFA in Lens-Based Media from the Piet Zwart Institute with their thesis, “Intoxicated and Intoxicating Terroir of ‘Yellow Queer’ Theories.” Their work has been exhibited at SIGN artspace (Groningen), V2_ Lab for Unstable Media (Rotterdam), WORM (Rotterdam), the Eye Filmmuseum (Amsterdam), and Mugetang Gallery (Chengdu), where early solo exhibitions investigated the survival strategies of China’s urban-rural fringes.


滕沐洋，1998年生于江苏的土地，是一位在语言的裂隙中寻找栖居之所的酷儿华语艺术家-作者。他们的名字本身一个诗意的矛盾体——既是看护边界的“牧羊人” ，又暗含着消解界限的“沐浴在海洋中”。正是在这种张力中，他们通过诗歌、实验影像和理论写作，编织出一种新的可能性的地图。

在中英文的迁徙中，在传统与当代知识体系的交错处，他们的创作实践探问：当那些被认为坚不可摧的表面——皮肤、意义、差异——开始松动时，什么样的生命形式会在裂缝中萌发？童年时期与语言的搏斗经历，转化为一种独特的诗学方法：用破碎的形式、双语的游戏来构建充满政治能量的空间。这些作品像被锁区的歌谣，承载着那些无法被纯粹理论话语容纳的离散叙事，在表面的“失败”之下，编织出东亚思想与当代酷儿理论之间未曾预期的对话。

作为一个自我宣称的“业余者”（在“爱人”的古老意义上），沐洋将酷儿性理解为一种认识论的方法，而不仅仅是身份标签。他们细致考察种族与性别/性向的标识如何在文化转译中显形与消解，如何在边缘处寻找新的存在方式。通过批判性的寓言编织与颠覆性的幽默，他们重构那些过于细微而被正统档案遗落的历史，展示边缘化的身体如何将自己的临界位置转化为创造性的抵抗空间。

在他们的实践中，模糊性不是需要克服的障碍，而是一种方法论上的盟友，帮助想象另类的联结与生存之道。目前在荷兰艺术学院(DAI)进修的沐洋，此前以其论文《黄同酒地：砸碎的经验、扭曲的站位与腐烂的自我》获得皮特·兹瓦特学院镜头媒体艺术硕士学位。他们的作品在格罗宁根Sign艺术空间、鹿特丹V2_ Lab for Unstable Media、WORM、阿姆斯特丹Eye电影博物馆和成都木格堂画廊等空间展出，早期个展探讨了中国城乡边缘地带的生存策略与抵抗诗学。