Contact
mukjoeng@outlook.com
tengmuyangphoto@163.com
+86 18896502825
Based in China
tengmuyangphoto@163.com
+86 18896502825
Based in China
BIO
Muyang Teng (b. 1998, Changzhou) is an artist and writer based between
China and the Netherlands, working across writing, moving image,
photography, installation, and performance.
Their work traces how systems of transmission and classification settle into language, images, bodies, and intimate life. Colonial administration, Cold War communication, and platform sorting shape who becomes legible, who can be heard, and in what register. These systems do not simply transmit; they delay, filter, and recalibrate what passes through them. What returns is a thinned signal—still audible, still recognizable, but altered by the time and conditions of its reception.
Teng came to writing through the camera, then continued where the camera had no place to stand: after demolition, after sealing, after a message had passed through a hand unable to read it.
From 2022 to 2024, Teng ran ElectricLizard, an online platform for anti-Orientalist, feminist, and queer-ecological translation. Recent chapbooks include Bears Are Ninety Percent B (2025), Snow Deer (2026), and Elephant On Elephant Off (2026); films include The Ruined Map (2023) and Octopus in Drag (2024). Their work has been presented at EYE Filmmuseum, V2_, WORM, SIGN, Mugetang Gallery, and Centrale Fies. Teng holds MAs from the Piet Zwart Institute and the Dutch Art Institute.
Their work traces how systems of transmission and classification settle into language, images, bodies, and intimate life. Colonial administration, Cold War communication, and platform sorting shape who becomes legible, who can be heard, and in what register. These systems do not simply transmit; they delay, filter, and recalibrate what passes through them. What returns is a thinned signal—still audible, still recognizable, but altered by the time and conditions of its reception.
Teng came to writing through the camera, then continued where the camera had no place to stand: after demolition, after sealing, after a message had passed through a hand unable to read it.
From 2022 to 2024, Teng ran ElectricLizard, an online platform for anti-Orientalist, feminist, and queer-ecological translation. Recent chapbooks include Bears Are Ninety Percent B (2025), Snow Deer (2026), and Elephant On Elephant Off (2026); films include The Ruined Map (2023) and Octopus in Drag (2024). Their work has been presented at EYE Filmmuseum, V2_, WORM, SIGN, Mugetang Gallery, and Centrale Fies. Teng holds MAs from the Piet Zwart Institute and the Dutch Art Institute.
→ 中文
滕沐洋（1998年生于常州），艺术家与写作者，工作生活于中国与荷兰之间，创作媒介涵盖
写作、动态影像、摄影、装置与行为表演。
其创作追踪的是，传输与分类系统如何沉淀进语言、图像、身体与亲密生活之中。殖民管理、 冷战通讯与平台算法，共同塑造着谁可被辨识、谁能被听见，以及以何种声调被听见。这些系统 并非单纯传递信息，而是会对穿行其间的信息进行延迟、过滤和重新校准。最终折返的信号已然 削弱——虽仍可听闻、仍可辨认，却因接收的时间与条件而发生了改变。
滕由相机步入写作，继而在相机无处立足之处继续前行：在拆除之后，在封存之后，在一条信息 经由一双无法解读它的手之后。
2022年至2024年间，滕运营ElectricLizard，一个致力于反东方主义、女性主义与酷儿生态翻译 的线上平台。近期出版的小册子包括《熊的百分之九十是B》（2025）、《雪鹿》（2026）与 《象开象关》（2026）；影像作品包括《燃烧的地图》（2023）与《扮装章鱼》（2024）。 其作品曾在EYE电影博物馆、V2_、WORM、SIGN、木格堂与Centrale Fies展出。滕拥有 皮特·兹瓦特学院与荷兰艺术学院的双硕士学位。
其创作追踪的是，传输与分类系统如何沉淀进语言、图像、身体与亲密生活之中。殖民管理、 冷战通讯与平台算法，共同塑造着谁可被辨识、谁能被听见，以及以何种声调被听见。这些系统 并非单纯传递信息，而是会对穿行其间的信息进行延迟、过滤和重新校准。最终折返的信号已然 削弱——虽仍可听闻、仍可辨认，却因接收的时间与条件而发生了改变。
滕由相机步入写作，继而在相机无处立足之处继续前行：在拆除之后，在封存之后，在一条信息 经由一双无法解读它的手之后。
2022年至2024年间，滕运营ElectricLizard，一个致力于反东方主义、女性主义与酷儿生态翻译 的线上平台。近期出版的小册子包括《熊的百分之九十是B》（2025）、《雪鹿》（2026）与 《象开象关》（2026）；影像作品包括《燃烧的地图》（2023）与《扮装章鱼》（2024）。 其作品曾在EYE电影博物馆、V2_、WORM、SIGN、木格堂与Centrale Fies展出。滕拥有 皮特·兹瓦特学院与荷兰艺术学院的双硕士学位。
ARTIST STATEMENT
I begin with things that do not arrive whole: a playground slide sealed
for safety; a towel still folded as I left it three years ago; my
grandfather's encrypted pulses, transmitted during a war whose messages he
was not permitted to read. Or perhaps they arrive whole enough. It is their
use that has broken off.
I work with found images, inexpensive objects, damaged surfaces, writing, and gestures that persist beyond their original use. I crop, re-photograph, dismantle, translate, and return things to circulation. Images reappear less as evidence than as residue. Translation, for me, is a bodily process: accent, breath, copying, mistranslation, and mishearing reveal what changes as something passes from one person, language, or medium to another.
Family returns as atmosphere—a colour, a habit, a voice continuing in another room, a rhythm the body has retained without knowing. I am interested in repetition, distortion, and the ways time moves through bodies, materials, and language. What matters to me is not perfect transmission, but what remains after coherence begins to fail.
I work with found images, inexpensive objects, damaged surfaces, writing, and gestures that persist beyond their original use. I crop, re-photograph, dismantle, translate, and return things to circulation. Images reappear less as evidence than as residue. Translation, for me, is a bodily process: accent, breath, copying, mistranslation, and mishearing reveal what changes as something passes from one person, language, or medium to another.
Family returns as atmosphere—a colour, a habit, a voice continuing in another room, a rhythm the body has retained without knowing. I am interested in repetition, distortion, and the ways time moves through bodies, materials, and language. What matters to me is not perfect transmission, but what remains after coherence begins to fail.
→ 中文
我从那些未能完整抵达的事物开始：因安全考量被封起的滑梯；三年前我离开时叠好的毛巾，
至今原样未动；祖父在战争期间传回的加密脉冲信号，而那些消息他本人也无权阅读。又或许，
它们抵达时已是完整的，只是它们的用途早已断裂。
我处理的对象包括现成图像、廉价物件、受损的表面、文字，以及那些超越了原本用途而持续 存在的姿态。我裁剪、翻拍、拆解、翻译，再让它们重新回到流转之中。图像再次出现时， 更像是残余，而非证据。于我而言，翻译是一种身体性的过程：口音、呼吸、复制、误译与 误听，揭示了当某物从一个人、一种语言或一种媒介传递至另一个人、语言或媒介时，究竟 发生了什么变化。
家庭以氛围的方式归来——一种颜色、一种习惯、另一个房间里延续的嗓音、身体在不知觉间 保留的某种节奏。我对重复、变形，以及时间如何穿过身体、物质与语言而流动的方式深感 兴趣。我所在意的，并非完美的传递，而是当连贯性开始瓦解之后，还能留下什么。
我处理的对象包括现成图像、廉价物件、受损的表面、文字，以及那些超越了原本用途而持续 存在的姿态。我裁剪、翻拍、拆解、翻译，再让它们重新回到流转之中。图像再次出现时， 更像是残余，而非证据。于我而言，翻译是一种身体性的过程：口音、呼吸、复制、误译与 误听，揭示了当某物从一个人、一种语言或一种媒介传递至另一个人、语言或媒介时，究竟 发生了什么变化。
家庭以氛围的方式归来——一种颜色、一种习惯、另一个房间里延续的嗓音、身体在不知觉间 保留的某种节奏。我对重复、变形，以及时间如何穿过身体、物质与语言而流动的方式深感 兴趣。我所在意的，并非完美的传递，而是当连贯性开始瓦解之后，还能留下什么。