Christelle Oyiri’s exhibition titled Ghost Rider, part of the BMW Art Club 2025 project, opens on 20 November at Zachęta! The partnership between Zachęta and BMW creates a framework for artistic experimentation where modern art meets technology and innovation.

Christelle Oyiri’s exhibition titled Ghost Rider, part of the BMW Art Club 2025 project, opens on 20 November at Zachęta! The partnership between Zachęta and BMW creates a framework for artistic experimentation where modern art meets technology and innovation.

Christelle Oyiri’s exhibition titled Ghost Rider, part of the BMW Art Club 2025 project, opens on 20 November at Zachęta! The partnership between Zachęta and BMW creates a framework for artistic experimentation where modern art meets technology and innovation.

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?

Christelle Oyiri’s exhibition titled Ghost Rider, part of the BMW Art Club 2025 project, opens on 20 November at Zachęta! The partnership between Zachęta and BMW creates a framework for artistic experimentation where modern art meets technology and innovation.

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?

Christelle Oyiri’s exhibition titled Ghost Rider, part of the BMW Art Club 2025 project, opens on 20 November at Zachęta! The partnership between Zachęta and BMW creates a framework for artistic experimentation where modern art meets technology and innovation.

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?

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?

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?

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?