Evgenia Elanic

28. I still don’t live in Spain, still haven’t built my main child — Elanic Gallery — into the level of independence I dream of. I haven’t lost weight, haven’t become a well-known artist, haven’t built my life into something that feels safe. And I think I finally burned out a little. But I’m closer to all of those things than I was before. The road just turned out to be harder — and not without setbacks. I’m building many things at once: my life, my brand, our production, our art collective. Everyone says it’s a lot, and I guess it is — I’m barely enough for all of it. But we keep going. No results yet — only the journey.

Munich afterthoughts Wanna keep it short. First, this exhibition drained me so much that I still haven’t fully recovered. Of course, it wasn’t just that — it was also preparing applications for Georgian temporary residency (successful) and Spanish temporary residency (still pending) at the same time, plus insane amount of work at my main job that I can’t really outsource because it’s too expensive. But even the exhibition solely was very hard to pull off. Without my husband's help and the most dedicated members of the team, we probably would’ve screwed up something critical. Lessons learned though. And hopefully the workload will be more balanced next year. Second, location is everything which is SAD given how much it costs!! The exhibition was a big success, but only about a third of that (yes, that little) comes from the concept, the participants, and the selected works. The other two-thirds is simply the fact that we were right in the city center. People actually came — a lot of people — and if they hadn’t, there would’ve been no success, no positive feedback, no invitations to other shows. We spent a shit ton of money on rent (Munich is insane, like really), and it paid off. That’s it. Already getting ready for next year 🫡

Selling Face, the second exhibition by @collective.dvizh at @munichjewelleryweek @schmuckmuenchen has opened! It features 46 artists from 21 country who have created facepieces reflecting on the themes of self-presentation, online persona and social media! Warmest thank you to everyone who came to our mask wearing event! It was so lovely to meet you in person, @kristaleharijewellery @laurasaarivuorieskola @opheliadeep @dar.kuv @kunstgoud @una_artesana Come visit us at Zentnerstrasse 5, @artspace_muc Location no. 2️⃣1️⃣ on SCHMUCK map! 04-07 March 10.00-18.00

Evgenia Elanic @e.elanic UNWANTED This work is dedicated to people who would really like to get out of the closet. Stop hiding and being scared of every word and glance. Just live their lives. But their homeland didn’t want that. Hiding behind a thick curtain there is a tiny bat — a symbol of lesbians from the 19th century. And on the roof, a quartz pyramid stubbornly throws off a rainbow — because nature cannot be forbidden. Silver, quartz, rhodium plating - 2023 #NOD #NotOnlyDecoration #NextTimeMaybe #TheRejectEdition #EvgeniaElanic

New artwork by DVIZH member @e.elanic “This year, again” Stainless steel, rhodium plating, glass This artwork is based on statistics about HIV/AIDS death rate from 1984 to 2021 worldwide. Each meter of the steel chain represents a year, and the number of red glass shards on it indicates the amount of deaths per 100,000 people this year worldwide. When I look at this graph, I am filled with belief that humanity can overcome whatever challenge it faces, cure any disease. That same belief also fills me with sadness. In my home country, Russia, HIV is a serious issue, with 1.5% adults infected. In its fight against “western values” that corrupt the society the government further enforces the stigma and went as far as declaring non-profits that help to prevent and treat HIV “foreign agents”. Will this graph go back to zero ever again? I count the sharp glass beads with my fingers and think about people who didn’t have to die. The artwork was part of exhibition “The Jewelry Code” by @syldyr_project in Almaty, Kazakhstan and will be presented again at Munich Jewellery Week 2026

So yesterday I paid 130% of the pre-New Year price for our new batch of casting. Not cool. Even less cool when you consider it's 320% of what it used to be in 2022 and not so short of what I hoped to be the max for this whole year when calculating our new prices. Captain, it's mid-January. So what now? I believe quite many of our colleagues, who work in the affordable market section will have to switch to rhodium/gold plated or bare brass, or extend their existing assortment of it. Some others will start fighting for every 0.1g of metal they can scrape off. Some will start raising prices more and more until they eventually reach the semi-luxury segment and survive there or die. Where will we go? I see very little point for us to switch from silver. It deflates the perceived value much more than how much we can reduce the price. People buy our jewelry because it's a treasure. Many are ready to save up for months to add their most wanted ring to the collection. We are expensive - and we are unique, gorgeous and worth it. Why throw this out of the window to save a few bucks off each piece? That said, saving a few bucks is a lot from the business side. We are now paying $1700 for a casting batch we paid $1000 for just this summer. So what to do? The only other way left is to make the money people pay for my art even more worth it. We will focus on the customer experience, on how we wrap your orders, we will try to speed up our production and make the website as pleasing and non-confusing as possible. So that when you receive the jewelry piece you wanted so so much, every piece of the process feels just as great. We are a tiny team, so each of these processes will take a while. We can't just throw in a ton of investment (oh I wish). Each adjustment will mean step by step, slow growth which, I hope, will in the end help us stay relevant and afloat in these times. Carrying on 💅

Elanic jewelry campaigns recap by the start of 2026 🖤 Jewellery as narrative, worn as art Stay with us for more magical stories ✨

A jewelry story about what it is to be a modern day heroine Collaboration @elanic.gallery x @likratowa_jewelry Videography @e.elanic Assistant videography @vera.factor Models @beryoza_kudriavaya @kaneko.en Makeup @needlesmichelle Assistants @vera.factor @hofstadterk_ihit Armor @oreadsvintage Blouse @kaneko.en

A goodbye reel for this Ring, handcrafted from solid silver - the highlight of the Burnt series Exhibitions where this piece was showcased: 2023. Metrica Fashion show — Tbilisi, Georgia. 2024. VIII Contemporary Goldsmithing and Jewelry Exhibition — Museo Nacional de Artes Decorativas of Madrid, Spain. 2024. I Don't Shine — Venice Design Week. 2025. DVIZH collective exhibition — Munich Jewellery Week. And now it's sold, which is amazing itself!

This gorgeous ear cuff departed to its new home today ❤ Thank you to everyone who support my art. This is the only thing that gives me courage and resources to carry on making such bold projects! See my other jewelry artworks via the link in bio ✨

A comprehensive reel about our brand founder’s trip to the greatest contemporary jewelry event! This is the kind of experience that stays with you forever ❤️ Designs and art by Evgenia Elanic: @elanic.gallery Evgenia’s personal account with stories from the MJW: @e.elanic DVIZH collective: @collective.dvizh

Thoughts after visiting @munichjewelleryweek for the first time - both as a visitor and as the founder of @collective.dvizh It was terrifying to take our own project there never visiting before, but life today leaves no room for doubt, and every opportunity to travel must be used to the fullest. So, right after the Tbilisi exhibition, I sat down to find a venue in Munich that would host us. We are a collective of Russian-speaking artists, and it so happened that in Munich, we were also supported by the Russian-speaking emigrant community. The owner of Projektraum Nautilus, Olga, has been living in Germany for 20 years and has gathered a devoted community of creative people around Nautilus. We were incredibly lucky to have such a welcoming space — it was a perfect illustration of why we come together, including in Dvizh. You travel across half a continent to another country, and yet you’re not alone. It felt surreal to stand at the openings of high-profile exhibitions. The room around you is full of people, many of whom you recognize or at least know their names. Then a curator from an Italian gallery recognizes you, and you chat in English while next to you, your colleague’s former classmates and teachers speak Hebrew. All around are jewelry pieces by Australian and New Zealand artists, and you try to recall your school-level German to translate the exhibition texts for our Russian-speaking group. You walk around, watching how others get recognized, and of course, you want to be recognized too. One of the main takeaways for all of us was that next year, we’re bringing BIG jewelry — the kind you put on, step into the crowd, and at the very least, people compliment you and ask who you are. And at best — like that Italian curator —they smile, open a catalog in front of you, and show you a full-page spread featuring your work. My legs nearly gave out—I visited every exhibition I could. And the most important thing I realized was this: we are creating a project at a high level. We are making something incredible. Our artists are talented, intelligent, and deeply perceptive. We will keep coming back to Munich because we — our collective — deserve to be there.