CONTACT/联系
mukjoeng@outlook.com / tengmuyang@gmail.com
NL +31 0647681716 / CN +86 18896502825
NL +31 0647681716 / CN +86 18896502825
ARTIST STATEMENT/艺术家自述
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, sent 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 cheap objects, borrowed images, damaged surfaces, and gestures that persist after use. I crop, re-photograph, take apart, and return things to circulation. Images come back less as evidence than as residue. In writing, I use constraint similarly: chapters built from a single letter, equations that press unequal things into false equivalence.
Translation, for me, is something the body does. Copying another’s words by hand, I keep the awkward roundness of my own script. Accent, breath, and mishearing are where the work happens. Queerness enters here too, as another problem of carrying across: something passes, something does not, and what returns has changed.
Family returns as atmosphere: a color, a habit, a voice left running in another room, a rhythm the body has kept without knowing.
My poems are scores. They need a mouth, stuttering, and wear. My mother locks the door, then pushes and pulls it ten times; over the years, the lock loosens. Time seems to work the same way—returning through bodies, materials, and language, wearing them into another form.
I offer something still transmitting.
我从那些无法完整抵达的事物开始：一座因安全原因而被封住的游乐场滑梯；一条毛巾，仍旧保持着三年前我离开时折叠的样子；还有祖父发出的加密脉冲——它们从一场战争中传来，而他并不被允许读取自己所传递的信息。又或者，它们其实已经完整得足够。只是它们的用途中断了。
我使用廉价的物件、借来的图像、受损的表面，以及那些在用途结束之后仍持续存在的动作。我裁切、重新拍摄、拆解，再把它们放回流通之中。图像返回时，与其说是证据，不如说是残留。在写作中，我也以类似的方式使用限制：由一个字母构成的章节，将不相等之物强行压入虚假等式的方程。
对我来说，翻译是身体所做的事情。用手抄写他人的文字时，我保留自己笔迹里那种笨拙而圆钝的形状。口音、呼吸与误听，正是作品发生的地方。酷儿性也从这里进入，成为另一个关于“如何携带过去”的问题：有些东西越过去了，有些没有，而返回之物已经发生改变。
家庭以氛围的形式返回：一种颜色，一个习惯，另一个房间里持续响着的声音，一种身体在不知不觉中保留下来的节奏。
我的诗是乐谱。它们需要一张嘴，需要结巴，也需要磨损。母亲锁上门，然后反复推拉十次；年复一年，门锁渐渐松动。时间似乎也以同样的方式工作——通过身体、材料与语言一次次返回，将它们磨损成另一种形态。
我递出某种仍在传输之中的东西。
BIO/简历
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.
滕沐洋（1998年生于常州）是一位往返于中国与荷兰之间生活和工作的艺术家、写作者，实践横跨写作、动态影像、摄影、装置与表演。
他的作品追溯了传播和分类系统如何融入语言、图像、身体和私密生活。殖民统治、冷战时期的通讯以及平台分类塑造了哪些人能够被解读、哪些人能够被倾听，以及以何种语域呈现。这些系统并非简单地传递信息；它们会延迟、过滤并重新校准通过它们的信息。返回的是一个被削弱的信号——仍然可以听见，仍然可以辨认，但却因接收的时间和条件而改变。
滕最初通过摄影开始写作，然后继续在摄影机无处容身的地方写作：在拆毁之后，在封存之后，在信息从一只无法解读的手中流逝之后。
2022至2024年间，他发起线上平台 ElectricLizard，关注反东方主义、女性主义与酷儿生态翻译。近期出版物包括《熊百分之90由B组成》（2025）、《雪鹿》（2026）与《大象开 大象关》（2026）；影像作品包括《燃烧的地图》（2023）与《扮装章鱼》（2024）。作品曾展出于 EYE 电影博物馆、V2_、WORM、SIGN、木格堂及 Centrale Fies。滕沐洋先后获 Piet Zwart Institute 镜头媒体硕士学位及 Dutch Art Institute 艺术实践硕士学位。