The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

The solo presentation of Krystyna Wojtyna-Drouet's works is the result of the artist’s long-standing, deeply intuitive relationship with material and craft. The exhibition brings together tapestry textiles, sketches, dyeing recipes and archival materials, revealing the processual nature of her practice, grounded in attentive observation and improvisation. A key point of reference within the exhibition is Uliczka (1962) — a work that marked a breakthrough both in the artist’s career and in the history of the Polish school of textile art.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.

How can you communicate with the world when illness renders established forms of communication impossible? How do women with disabilities experience motherhood? How do you become a mother during rehabilitation? What does it mean to ‘regain a voice’ in a world that does not recognise your language?

Barbara Kasten. Post-abstraction, the first such extensive exhibition of the American artist’s work in this part of Europe, marks a return to the place that helped her shape her artistic language many years ago. The exhibition involves a cross-sectional presentation of 100 works by Barbara Kasten, done in various media: photography, sculpture, and installation, complemented by the artist’s intervention in Zachęta’s stairway.