MoMu Antwerp opened GIRLS. On Boredom, Rebellion and Being In-Between. The exhibition, curated by Elisa De Wyngaert, moves beyond the stereotypical view of girlhood as a fleeting, innocent phase, to explore it as a powerful and complex force that continues to shape our visual culture and personal perspectives long after adolescence.

Through fashion, art, and film, GIRLS delves into themes of identity, memory, and the fluidity of the “girl” concept, creating an inclusive dialogue that resonates across generations. In the following interview, De Wyngaert delves into the inspirations and key themes of this interdisciplinary project.

Where did the idea come from, and what do you hope to convey?

EDW: In a way, this exhibition is the younger sister of ECHO. Wrapped in Memory from autumn 2023. After completing research for that show, I kept returning to the stories, experiences and memories of teenagers—especially girls—and how they live on in the work of artists and fashion designers. They reveal how freedom to roam, intense boredom or loneliness—feeling strange or different—echo long after adolescence. It’s a phase free from adult responsibilities, rich in imagination and experimentation. Many artists revisit that time. The works in this exhibition show that girlhood isn’t something we leave behind. It’s a way of seeing that stays with us. There’s also the awareness that the future depends on how we support teenagers today. Across the world, gender inequality, poverty, conflict and deep-rooted discrimination rob girls of opportunities. This project is for them too. It reminds us that representation and storytelling through art, fashion and culture are vital for visibility.

You’ve added an LGBTQIA+ dimension.

EDW: ‘Girl’ is a fluid concept. It’s not easily defined by gender or age. It doesn’t have to match the gender on your passport. When are you a girl, and when are you not? Is it a choice, or do others decide for you? Is it a phase, or more of a feeling? Several artworks explore these questions, including new installations created with artist and stylist Sofia Lai. One of her dressed sculptures reflects on the familiar teenage experience of feeling alien in your own body, overwhelmed by hormonal shifts, emotions and physical changes. How do we use clothing during that time to express identity and seek connection? For non-binary and trans youth, that search can be especially complex and sensitive due to rigid gender norms and societal expectations.

The title also evokes boredom and coming of age. How do you explore these themes?

EDW: Through three immersive bedroom installations by Sofia Coppola, Jenny Fax and Chopova Lowena. We explore themes like boredom, sleep deprivation and coming of age, with input from child psychiatrist Peter Adriaenssens. Together, we examined the link between the intensity and creativity of adolescence and the neurological reorganisation of the teenage brain. It’s also a plea to better understand the teenage experience.

Which work would you like to highlight?

EDW: It’s hard to choose, but I’m especially grateful we’re able to present the original costumes from The Virgin Suicides (1999) for the first time. We collaborated with director Sofia Coppola and costume designer Nancy Steiner. In Coppola’s adaptation of Jeffrey Eugenides’ 1970s novel, she captures the intensity, vulnerability and emerging sexuality of adolescence. Steiner’s costumes and Air’s ethereal soundtrack contribute to the film’s enchanting yet realistic atmosphere.

MoMu also worked with young people aged 9 to 19 for this exhibition. What did that bring to the project?

EDW: That many feelings and challenges around growing up resonate across generations. That’s why it’s so important to truly listen to what teenagers have to say today, and to remember how—and who—we were at that age. For a video installation with director Leonardo Van Dijl, we interviewed ‘girls’ aged 9 to 90.