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    MY BBY 8L3W

    NEOZOON, France, Germany, 2014, 3’

    In unison, the clips in MY BBY 8L3W confront us with collective perversion. Artist duo NEOZOON gather videos from the vast, wild landscape of YouTube and present them with minimal intervention. The found footage is edited together side by side, revealing eerie similarities that unambiguously lay bare a pattern: boundaries are being crossed in the relationship between humans and animals.

    MY BBY 8L3W masterfully lures us into a false sense of comfort through the innocence and humour of home videos. Dozens of women introduce their pets to the camera—their ‘babies’, whom they shower with belittling and almost identical terms. The endearing collage initially makes us laugh. But when the perfectly timed little kisses turn into intense make-out sessions, the innocence and comedy give way to unease and, later, revulsion. Other body parts also present themselves to be licked or sucked. The silence at the end of MY BBY 8L3W is deafening.

    NEOZOON tugs at a thread that quickly unravels an entire framework of thought. What kind of relationship do we tolerate between pet and owner? At what point do the images go too far? The film poses these questions silently and without mercy. As viewers, we are laid bare, stripped of our innocence. For our watching turns out to have been little more than voyeurism.

    Laïka Planchenault

    Bio NEOZOON

    NEOZOON is a female art collective. Its work is based on the principle of collage and investigates sociological questions about speciesism in the Anthropocene. Recontextualisation of found footage and/or YouTube material is a recurring element. NEOZOON´s work was exhibited at Centre Pompidou in Paris, at ZKM in Karlsruhe, at Kunstwerke Berlin and has also been shown at festivals in Oberhausen, Rotterdam, London and New York.

    Sluiten
    © LITTLE LOWER THAN THE ANGELS (NEOZOON, 2019)
    interview
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    There Must Be a Way Out of This Disaster

    A conversation with NEOZOON

    Savina Petkova
    25.07.2025

    Do you like cat videos? Try watching a thousand in a row, spread them on a timeline, and map out the similarities and differences between them. This experiment could serve as a primer for the work of two-person art collective NEOZOON, whose preoccupation is human-animal relationality. Using only found footage and social media archives, the duo aims to expose the oppressive power structures that position humans as exceptional, and non-human animals as anything but.

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    Credits

    Editor
    NEOZOON
    Producer
    NEOZOON
    521
    experimental satire found footage

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    The Motherfucker’s Birthday

    Saif Alsaegh, Iraq, USA, 2024, 6’

    Through dancing, The Motherfucker’s Birthday shows the evil of the dictator and the horror people endure under powerful political leaders. The film presents dancing, a universal and uniquely human activity often representing joy, with eerie footage of Saddam and his sons’ torture tools while they dance.

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    elephantfish

    Meltse Van Coillie, Belgium, 2018, 27’

    A ship drifts in the middle of an endless sea. Aboard is a crew of five. They all cope with boredom — some by trying to overpower it; others by escaping into a parallel world guided by dreams.

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    À l’usage des vivants

    Pauline Fonsny, Belgium, 2019, 27’

    In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice. Through this film, they highlight the reality of detention centres: the harsh conditions of confinement, the suffering of detainees and the abuse by guards and police officers.

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    The Hymns of Muscovy

    Dimitri Venkov, Russia, 2018, 14’

    The Hymns of Muscovy is a trip to the eponymous planet, which is an upside-down space twin of the city of Moscow. Gliding along its surface, we look down at the sky and see historic architectural styles fly by—the exuberant Socialist Classicism, aka the Stalinist Empire, the laconic and brutalist Soviet Modernism, and the hodgepodge of their contemporary knock-offs and revivals.

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    Old Child

    Elettra Bisogno, Hazem Alqaddi, Belgium, Palestine, 2019, 16’

    Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

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    Un Chien Andalou

    Luis Buñuel, France, 1929, 21’

    Spanish surrealist Luis Buñuel wrote his first feat together with Salvador Dalí, based on their dreams. Don’t get stuck on the plot. Buñuel deliberately omits chronology and opts for Freudian dream logic, in which scenes do not necessarily follow one another logically.

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    Swollen Stigma

    Sarah Pucill, United Kingdom, 1998, 21’

    Swollen Stigma is a visual, surrealistic narrative about a woman travelling both literally and psychically through several rooms. Memories, or fantasies, of another woman, fill her imagination. The film proposes lesbian imagery, and its shifting points of view jump between the protagonist, fantasy spaces, and her lover, making an internal world leak into what is external.

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    The Age of Anxiety

    Taiki Sakpisit, Thailand, 2013, 14’

    An audiovisual meditation on the fin de siècle in Thailand.

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