MoMu presents an exhibition celebrating the multifaceted beauty of girlhood

In Conversation with Elisa De Wyngaert: The Curatorial Vision Behind MoMu’s Latest Exhibition on Girlhood

Interest in girlhood has surged in recent years across various forms of media, art, fashion, and visual culture. The GIRLS: On Boredom, Rebellion and Being In-Between exhibition at the Museum of Fashion Antwerp seeks to delve into the complexities of what girlhood means, questioning conventional interpretations and the various layers of meaning that the concept carries. Slated to open on September 27th, this exhibition brings together an impressive array of works by diverse artists, including Louise Bourgeois, Chopova Lowena, Meret Oppenheim, Harley Weir, Tina Barney, and many others, all dedicated to exploring the multifaceted identity of girls and challenging the long-held Western artistic stereotypes.

We sat down with curator Elisa De Wyngaert to discuss the exhibition’s overarching themes and the urgent political resonance of girlhood today. In a world where the rights of young individuals, particularly girls, are increasingly under threat, De Wyngaert emphasizes the necessity of expanding our understanding of girlhood, which is often seen as transient. Instead, she argues, it is fundamental and influential in shaping women’s lives. The exhibition is not about providing definitive answers but rather about continuing the dialogue surrounding how girlhood can be expressed and its impact on society.

De Wyngaert’s curatorial approach finds inspiration in feminist philosopher Adriana Cavarero’s ideology, advocating for a relational understanding of identity that acknowledges the importance of interaction and interconnectedness. In her efforts to represent girlhood, De Wyngaert decided to center LGBTQIA+ youth, collaborating directly with contemporary teenagers. Her perspective shifts away from a narrow view of girls and emphasizes a fluid approach where various media and disciplines intertwine, inviting open questions about the girlhood experience.

As the title of the exhibition suggests, GIRLS: On Boredom, Rebellion and Being In-Between embarks on a journey through transitional spaces—both literal and conceptual—that girls navigate. It comments on the potential for freedom hidden within marginality and the right to self-definition, especially relevant for those who are young, defiant, and caught between various definitions and expectations.

De Wyngaert reflects on some challenges about the exhibition’s focus: “You mentioned sometimes worrying that people might ask, ‘Why not an exhibition about boys?’ — yet you felt that creating a space for girls was fundamental. How did the idea of focusing on girlhood first emerge?”

She explains that after her work on ECHO. Wrapped in Memory this year at MoMu, themes revolving around teenagers—especially teenage girls—resonated deeply with her. Their stories remained at the forefront, leading her to uncover another exhibition concept within her research, ultimately giving rise to GIRLS.

De Wyngaert asserts that girlhood represents a space of ambiguity. How can this ambiguity enrich our understanding of the contemporary world?

As she explains, girlhood symbolizes an ambiguous language in itself—delicate, subversive, and ripe with contradictions—something that holds immense importance in a world increasingly divided. This ambiguity creates an opportunity for complexity, allowing for diverse experiences rather than rigid categorizations.

Should we perhaps refer to girlhoods in the plural, rather than singularly?

For De Wyngaert, girlhood—similar to childhood or adulthood—should always be understood as plural. While there are common threads like the quest for belonging or experiences of coming-of-age, each girlhood is uniquely shaped by personal context and circumstance.

The title In Between evokes themes of fluidity and transition, which ties back to the idea of queerness. Can you elaborate on your decision to include LGBTQ+ youth in this exhibition?

In Between symbolizes the space between childhood and adulthood but also touches on gender identity. In the early 20th century, fashion for children became starkly gendered, leading to enduring binaries. De Wyngaert references Judith Butler’s concept from Gender Trouble, stressing that gender is not a fixed notion but shaped continuously by societal and personal experiences. The inclusion of trans and non-binary perspectives provides a broader, more fluid understanding of girlhood, showcasing it as a space of evolving identity rather than a predetermined concept.

The term Boredom stands out in this context. In a productivity-driven culture where young people are inundated with activities, why emphasize boredom?

Boredom is increasingly rare but can be profoundly significant. Quoting Lauren Greenfield from the exhibition’s catalogue: “My dad used to tell me that boredom is the highest state. I didn’t get it as a kid, but now I appreciate his brilliance.” The state of boredom promotes creativity; during moments of stillness and reverie, young minds can wander, especially prevalent in coming-of-age narratives showcased in cinema, such as The Virgin Suicides. De Wyngaert elaborates on the point with insights from child psychiatrist Peter Adriaenssens about how during adolescence, while life may feel stagnant, transformative processes are underway in the brain.

Reflecting on Simone de Beauvoir’s assertion, “One is not born, but rather becomes, a woman,” can we likewise see girlhood as a journey of becoming?

There’s a distinction between merely expressing one’s gender identity and engaging with girlhood as a cultural experience. Designers such as Simone Rocha, Molly Goddard, Chopova Lowena, and Jenny Fax are reinterpreting girlhood and early femininity, crafting narratives that offer a refreshed perspective on the “girl’s gaze”—one that transcends age and gender limitations.

Addressing the tension surrounding societal expectations, Susan Sontag noted that while women must embody a youthful appearance perpetually, they are also expected to fulfill mature responsibilities. How does this exhibition navigate this dichotomy?

The exhibition, featuring writings from Morna Laing, steers clear of framing a binary opposition between boys and girls. Instead, it explores how art and fashion consistently draw from archetypical representations of girlhood—those often signposted by traditional motifs like Mary Janes or glittering accessories—which have diverse implications ranging from innocence to rebellion. Artists and designers are presently reclaiming these traditional symbols, redirecting them towards broader, more inclusive representations of age and identity.

Lending insight on the curatorial process, how were photographers selected to be featured in the exhibition?

De Wyngaert sought to incorporate a range of photography from different generations that have significantly shaped contemporary portrayals of girlhood. Artists like Lauren Greenfield, Nigel Shafran, Roni Horn, Micaiah Carter, Nancy Honey, Leticia Valverdes, Eimear Lynch, and Petra Collins are all included for their nuanced and respectful approaches to depicting girls—often working collaboratively with their subjects to prioritize the girls’ voices and consent.

Addressing the overarching themes of identity, empowerment, and visibility, how does the exhibition examine girls’ agency with regard to their self-presentation and personal image?

Traditionally, the archetype of the “young girl” in art history has often been portrayed as a mere accessory—a passive character embodying innocence and virtue. This stereotype carried over into fashion photography, where genuine representations of girlhood have been undervalued. The exhibition aims to position girlhood not just as a theme but as a lens through which we can understand broader social dynamics. Many women artists have rooted their work in the experiences of adolescence, expressing that these formative years persistently influence their perspectives as they grow older. Thus, the themes of girlhood examined in the exhibition resonate deeply, underscoring its significance.

Curator: Elisa De Wyngaert ​
​Guest curator film: Claire Marie Healy ​
​Exhibition design: Janina Pedan ​
​Graphic design: Paul Boudens