Curated by Astria Suparak and presented by Daisy Chain Fields, the punk feminism experience runs until November.

Approximately two weeks ago, pop star and proclaimed feminist Olivia Rodrigo launched Daisy Chain Fields, her all-women and gender-diverse music festival. Taking place at Great Park in Irvine, California, thousands of attendees filled the space and were eager to support their favorite artists and beyond.
Stars like Chappell Roan, Doechii, Mitski, Not For Radio, Stevie Nicks, and Sarah McLachlan performed at the inaugural event that supported women's music and causes. Yet a special element was present that Saturday in August: a one-of-a-kind feminist exhibition that celebrates women.
Curated by Astria Suparak, "Girrrl Germs: Punk feminism goes viral, 1991-2026" honors punk feminism by specifically focusing on the Riot Grrrl movement of the early '90s. The display's name is inspired by the song and fanzine "Girl Germs," which is by the now-Los Angeles-based band Bratmobile.
Riot Grrrl spirit is reflected in the title, which encourages visitors to rebel against persecution and turn them into better community members. The topic was selected by Rodrigo herself, which ties into her history of shedding light on unknown historical moments that have impacted many. Now, fans can see the exhibition until November 29 at Great Park Gallery.

Nepal's 80sD80s.

Poland's Dummy Toys. Photography by Rozbrat Poznan.

England's Skinned Teen.

USA's Bikini Kill. Photography by P Graham.

Not only was Suparak a part of the Riot Grrrl movement over three decades ago, but she has become a well-known Los Angeles-based curator who has previously worked with artists like Martine Syms. With support from fashion powerhouse Loewe, Grrrl Germs furthers the brand's belief in craft throughout a distinct, global phenomenon.
In the United States, teenage girls and young women created Riot Grrrl as an act of artistic resistance to an era of sexism in the punk music genre and generally in the culture. Taking queer and punk feminisms and '70s radical politics strategies, bands, self-published magazines, and support groups were formed in the early 1990s.
Opportunities like in-person meetings, volunteer-run conferences, and benefits for political causes allowed for the movement to become nationwide and spread to over 30 countries on six different continents. No matter the location, every Riot Grrrl space addressed the issues their location, political state, and time were dealing with.
However, it wasn't until 2000 that some of the leading grrrls came together to found Ladyfest in Olympia, Washington. The festival served as a platform for women and transgender creatives to showcase their music, visual art, performance, film, and workshops for others to learn from.&nbsp;

Brazil's Dia Internacional da Mulher. 1998.

Tukey's 2019 Ladyfest in Istanbul. Courtesy of Temmuz S. Gürbüz.

South Korea's Palestine Solidarity Event. Organized by Sailor Honeymoon.

South Africa's Women's Day Fundraiser. 2026.

Due to its success, Rock 'n' Roll Camp for Girls debuted a year later in Portland and taught younger girls and genderqueer individuals how to play musical instruments and practice songwriting. Even today, you can see the impact of Ladyfest and Girls Rock Camps internationally, which are locally organized. But the Riot Grrrl movement was only getting bigger and bigger globally.
Chaos, I'm Your Mistress, an online punk and metal community in Istanbul; The Infoshop, a record label and radical library nestled in a village in Nepal that taught self-defense to young girls; and Rural Women Advocates, a community that hosts journaling workshops for women agricultural workers that led to collectively stitched banners advocating for land rights and against militarization in the Philippines are just some of the ways riot grrls have fostered safe spaces and creative grassroots efforts.
Thus, Grrrl Germs showcases the driving forces that led the movement to become internationally known for 35 years. In the exhibition, music, zines, fliers, and a group-effort map that takes visitors through the Riot Grrrl chapters are vital to the experience. In other words, this history is ongoing and not stuck in the past.
Five listening spaces with global music inspired by Riot Grrrl bands, posters that showcase the various ways people came together, and handmade zines that talk about defining issues of the time are meant to show new generations that a DIY approach is powerful. The only thing left to do is take a visit to Irvine, indulge yourself in the pivotal years that contribute to today's world, and leave feeling inspired.

Canada's "Double Double" Zine Cover by Pretty Porky and Pissed Off.

Belgium's "Different World's Same Heartbeats" #2 Zine Cover by Nina Zina.

Scotland's "Heavy Flow" #4 Zine Cover by Saskia Holling.

USA's "Gunk" #4 Zine Cover by Ramdasha Bikceem.

Bratmobile at IPU 8.91 Girl in 1991. Photography by Tae Won Yu.

Loewe Commits To Supporting Grrrl Germs Exhibition

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Loewe Commits To Supporting Grrrl Germs Exhibition

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