“En Route” Exhibition in Vatican Apostolic Library. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE. Photo Courtesy: BIBLIOTECA APOSTOLICA VATICANA / Dior.
En Route: The Vatican’s Unprecedented Acknowledgment of Women’s Influence in Global History
For the first time in its millennia-long existence, the Vatican is set to host an exhibition centered on women who defied societal norms and reshaped history through travel, journalism, and cultural exploration. “En Route”, scheduled from February 15 to December 20, 2025, at the Vatican Apostolic Library, is an exhibition unlike any before it—not only in its content but in the geopolitical weight it carries in today’s turbulent landscape.
This exhibition is not just about travel—it is a geopolitical statement, a strategic nod to the role of women in shaping the future of global leadership. It arrives at a moment of unprecedented political and social upheaval, when female leaders are in positions to steer the world out of crisis. The Vatican, an institution historically resistant to recognizing women as power figures, is now giving them center stage. The question is: why now?
A Call for Women to Take the Global Stage
With global instability, from war to political upheaval, this exhibition can be read as a call to action for women worldwide—a subtle yet unmistakable signal that leadership must shift towards the hands of those historically silenced. It is impossible to ignore the potential relevance of this exhibition to women in positions of power who today may hold the key to reshaping geopolitics.
While the Vatican may veil this in the language of historical tribute, this exhibition stands as a powerful undercurrent in the ongoing battle for global leadership and stability. In an era where traditional power structures are being challenged, the Holy See’s sudden decision to highlight pioneering women is not merely an academic endeavor—it is a repositioning of influence.
The Title “En Route” and Its Hidden Echoes
The exhibition’s title, “En Route,” immediately invokes the legendary travel journal by Lucien Leroy and Henri Papillaud (1895-1897), two French journalists who set out to circumnavigate the globe ‘without a penny’, relying on their storytelling and the goodwill of the people they met along the way. This framing of travel as both an intellectual and existential challenge is significant in Vatican rhetoric.
At the heart of this exhibition is the rediscovered Poma.Periodici collection, an archive of 1,200 newspapers gathered by diplomat Cesare Poma (1862–1932). Among them is En Route, a travel journal from 1895-1897, written by two French men, Lucien Leroy and Henri Papillaud, who financed their global journey through storytelling, publishing, and sales of their periodical.
This is a classic male adventurer’s tale—two men, unrestricted by societal norms, charting the world in pursuit of discovery and intellectual conquest. But the exhibition forces us to ask: what of the women who traveled despite being told they could not?
The Three Quotes: A Challenge to Historical Narratives
The exhibition prominently features three figures. On the walls of this exhibition, three powerful quotes stand as beacons of feminist defiance:
Gertrude Bell:
“I would love to go to the National [Gallery] but, you see, no one will take me there. If I were a boy, I would visit that incomparable place every week, but a girl is denied even the chance to see beautiful things!”
A British archaeologist, writer, and diplomat, Gertrude Bell was one of the key figures in shaping the modern Middle East. She was instrumental in the formation of Iraq but, like many pioneering women, was overshadowed by male contemporaries. Her words underscore the systemic exclusion of women from cultural and intellectual spaces—an exclusion the Vatican itself has long upheld.
Nellie Bly:
“It’s an impossible endeavor for you. First of all, you are a woman and will need a chaperone, and even if you could travel alone, you would have to carry so much luggage that it would hinder you during quick transfers. Furthermore, you only speak English, so there’s no point in discussing it; only a man can do it.”
“Very well,” I replied, furious. “Send a man, and that same day I will leave for another newspaper and beat him.”
Nellie Bly was a journalist who famously traveled around the world in 72 days, breaking records and challenging perceptions of what women could accomplish. Her words embody the relentless defiance against patriarchal restrictions, a theme that resonates profoundly in today’s fight for gender equality.
Simone de Beauvoir:
“Femininity, the trap.”
The inclusion of this stark, concise declaration by Simone de Beauvoir, the existentialist philosopher and author of The Second Sex, is perhaps the most radical. De Beauvoir argued that gender is a construct imposed by society to keep women in a state of subjugation. For the Vatican—an institution historically opposed to feminist ideology—to acknowledge her perspective is not just surprising but revolutionary.
These women’s journeys were not about conquest but about breaking barriers, challenging gender norms, and proving that knowledge, intellect, and curiosity are not male privileges.
The Artwork: A Visual Reinterpretation of Exploration
The exhibition includes a world map artwork that reinterprets En Route through a feminist lens. Created using 3D handcut and embellished elements, the piece charts the original male journey but embeds within it the unseen parallel travels of women.
- It traces Leroy and Papillaud’s route from Paris through Central Europe, the Middle East, Asia, the Americas, and back.
- The background, symbolizing the rise and fall of the sun, represents not just the passage of time, but the shifting tides of who gets to be a traveler, who gets to be remembered.
- By incorporating historical research, cultural encounters, and overlooked female narratives, the artwork reclaims travel from the domain of men, ensuring that the women who defied societal limitations are not just remembered, but re-centered.
The Players: Why These Figures?
The Vatican has carefully curated the exhibition’s contributors, selecting individuals who bring diverse, yet strategically aligned, perspectives:
- Lorenzo Jovanotti Cherubini – A musician and self-proclaimed globetrotter, Jovanotti’s inclusion adds a modern, populist element to the exhibition. His emphasis on personal, cultural, and musical journeys aligns with the concept of travel as an intellectual pilgrimage.
- Kristjana S Williams – An Icelandic artist known for her symbolic and dreamlike imagery, Williams’ reinterpretation of historical travels bridges past and present, making feminist journeys accessible and visually compelling.
- Maria Grazia Chiuri – The Creative Director of Dior’s women’s collections and an unapologetic feminist, Chiuri’s presence is perhaps the most provocative. Her work emphasizes the role of clothing in liberating women’s bodies, a direct challenge to both Victorian modesty and the Vatican’s historically rigid stance on women’s dress.
The Vatican’s Real Message: A Political and Cultural Shift
This exhibition is no accident. The Vatican, an institution that has for centuries denied women any substantial role in leadership, is now spotlighting them as pioneers. This is a seismic shift, not just in cultural storytelling, but in the geopolitics of gender and power.
Why now? The world is in a state of disarray. War, authoritarianism, and political failures have created a vacuum where female leadership could be the key to global stability. By curating this exhibition, the Vatican is subtly endorsing the idea that the future of global leadership cannot exclude women.
The Vatican’s Strategic Move: Why Now?
With the 2025 Jubilee approaching, a year of pilgrimage and renewal in Catholic tradition, this exhibition strategically positions the Vatican as an institution that is evolving with the times—or at least appearing to. The Vatican, which has historically restricted women’s roles in leadership, is now amplifying their voices. This shift could serve multiple geopolitical functions:
- Soft Diplomacy: By engaging with contemporary feminist discourse, the Vatican signals a willingness to dialogue with the modern world while retaining control over the narrative.
- A Response to Crisis: As global conflicts escalate, the Vatican may be tacitly endorsing female leadership as a stabilizing force.
- An Attempt at Relevance: In an age where the Church struggles with declining influence, especially among younger generations, aligning with progressive themes ensures continued cultural and intellectual authority.
Final Thoughts: A New Era or a Controlled Narrative?
“En Route” is not merely an exhibition—it is a statement. It forces us to question whether this is a genuine shift in Vatican ideology or a carefully orchestrated attempt to reposition itself in the global narrative.
The Vatican has always been a master of controlling the historical narrative, and this exhibition is no exception. Is En Route a genuine step toward acknowledging female intellectual power, or is it a carefully orchestrated repositioning of the Church in the modern world?
Regardless of intent, the symbolism remains potent: women, long ignored or sidelined in Vatican history, are now being acknowledged as intellectual pioneers and global influencers. If this is a call to action? Either way, one thing is certain: this is a turning point. The world is watching. Women have been called to take their place. And history, as always, is in motion, in its intellectual travel.
The road ahead is wide open for all brilliant and daring women. It’s a call…
