Jane Efremova

FotoRoom published Efremova's photograph among its favourite Single Images entries for the Espace Jörg Brockmann edition of #FotoRoomOPEN. Fotografika describes the recognition as a shortlist; the category winner was Clare Lyons.

Efremova co-organised and co-curated this photobook and zine festival with Vladimir Tereshkov, Asya Marchenko and Elena Andreeva. Held at the Berthold Centre in Saint Petersburg, it presented 35 selected publications alongside talks and a workshop.

Efremova's self-published photobook Echoes was selected for the Athens Photo Festival 2019 photobook exhibition at the Benaki Museum in Athens.

Developed from 2021, this photography and performance project explores relationships between the body and socialist architectural heritage. It was presented at F64 Photography Gallery in Podgorica on 8–25 October 2025; a subsequent solo exhibition, curated by Alexandr Blanar, was announced at SULUJ Gallery in Belgrade for 2 November 2026 following selection for the gallery's regular exhibition programme.

Begun in 2019, this video project brings dancers into abandoned post-Soviet spaces, including the former Volga pioneer camp, to explore bodily connections with place.

One-on-One is a photographic project about intimacy and personal boundaries that developed into an interactive installation and performance at FFTN Gallery in Saint Petersburg. Visitors listened through headphones, encountered the artist through a mirror and contributed written reflections.

Echoes is a photographic narrative and self-published photobook exploring relocation to Saint Petersburg, self-discovery and belonging. The book was produced in an edition of ten.

Efremova’s CV lists «Flesh and stone» as a photo project and laboratory for the 2022 «To walk or not to walk» residency at Ground Solyanka gallery in Moscow.

U10 Art Space announced an English-language talk with artist Jelena Pajić and exhibition curator Jane Efremova on 12 September 2026 at 18:00, as part of the exhibition 19 I 91.

Curated an exhibition of works by Jelena Pajić and Katya Yanova at U10 Art Space, exploring inherited memories of the dissolution of the Soviet Union and the wars in the former Yugoslavia.

Announced as the speaker for an English-language artist talk at Auditoria in Belgrade on 25 July 2026, scheduled for 18:00 alongside a Flesh and Stone pop-up exhibition. The advertised programme addressed her artistic practice, curatorial projects and current work in Belgrade.

Exhibition of work from Flesh and Stone at GCA_Portable in Novi Sad, listed for 11–22 May 2026 and curated by Kirill Eltsov.

Efremova's Post Soviet Zones was included in aCinema's October 2021 virtual programme, presented in partnership with Woodland Pattern Book Center.

Co-curated Museum of Artificial History at the State Darwin Museum as part of the joint Garage Museum of Contemporary Art and HSE University master's programme in Curatorial Practices in Contemporary Art.

Curated two inclusive children's animation workshops led by Vladimir Averin at the State Darwin Museum. Participants created a collective animated catalogue of creatures encountered in the Museum of Artificial History exhibition.

Co-curated Smena's About the Body exhibition at the Kropotkina 11 practice space in Saint Petersburg in June 2019. The exhibition is documented by a poster and photographic records in Garage Museum's Open Systems Project Archive.

Efremova co-curated the group exhibition Vector with Vladimir Tereshkov at UGE in Saint Petersburg. The exhibition was organised by Smena.

Participated in Not Included, a one-day group exhibition at Agile Gallery in Saint Petersburg on 7 October 2018. The exhibition presented works withheld from other projects through self-censorship in a temporary gallery installed in a truck.

Efremova curated Portrait, a Smena group exhibition at the Mansarda Hall apartment gallery in Saint Petersburg.

Efremova curated Personal Stories, a Smena group exhibition at the Mansarda Hall apartment gallery in Saint Petersburg.

Efremova co-founded Smena with Vladimir Tereshkov in Saint Petersburg in 2018. The self-organised artist community and curatorial project brought artists and audiences together through exhibitions across different city venues.

Efremova appears among the participants listed on the Spacing exhibition website. Her biography describes her as a photographer working on personal projects and interested in personal boundaries and the boundaries of feelings.

Efremova exhibited in Stories, a juried international photography exhibition at PH21 Gallery, held from 26 October to 18 November 2017.

Efremova is credited as photographer in Dunya Frankstein's public posts associated with Blooming Moss, with credits naming Zhenya Efremova and tagging @jane.efremova.

Tatjana Sedlaček interviewed Jane Efremova and curator Alexandr Blanar about Flesh and Stone and the project's development in Belgrade, on the occasion of its SULUJ exhibition.

Direktno / GenD's September roundup names Efremova as Džejn Jefremova in coverage of 19 I 91 at U10. It groups her with Jelena Pajić and Katja Janova as artists presenting photography and digital media.

An interview by Anastasiia Lobacheva and Sasha Shapiro features Efremova and Vladimir Tereshkov discussing their professional practices and creative collaboration.

An essay by Yuliya Tikhomirova on Efremova's Flesh and Stone project, prepared for the October 2025 F64 catalogue and published through Efremova's syg.ma account on 5 November 2025. Efremova is the featured artist, not the essay's author.

Jelena Kontić's article introduces Efremova's F64 exhibition and discusses the participatory performance methods of Flesh and Stone.

Obedinenie's interview with Alexandra Selivanova and Nadezhda Plungyan, written by Anastasiia Lobacheva and published on 8 August 2025, credits photography to Evgenia Efremova and Nikita Starostin.

Aroundart has a page titled «Все смешалось в доме „Россия“». The captured text does not establish its authorship or discussion of Efremova’s architectural photographs, performance, or residency participation.

Aroundart has a page titled «Музей искусственной истории: таксидермия субъектности». The captured text does not establish its authorship, critical discussion, or identification of Efremova as a co-curator.

Colta has a page titled «Моль и мотылек берут реванш!». The captured text does not establish the review’s exhibition coverage, Efremova’s connection to it, or whether the article names her individually.

Interviewed about entering art through photography, co-founding the Smena self-organised initiative, organising a photobook festival and studying curatorial practice.

An ART Uzel interview by Ekaterina Shitova examines Museum of Artificial History at the Darwin Museum, including its fictional framework, installation and human–nature relationships. The article interviews curators Ziliya Khusnullina and Elvira Saitgareeva, without naming Efremova or establishing her involvement.

Takie Dela and Fotografika published a collaborative photographic feature on twenty Russians self-isolating in eleven cities worldwide. Credited to the academy for both text and photographs, it explores differing experiences of isolation during the pandemic.

Katya Ivanova's section reviews the final Spacing exhibition at QuartaRiata, held June 9–17, 2018. It discusses Efremova's photo-performative investigation of body and space and credits her among the exhibition photographers. This is additional critical coverage of the context in which White Silence was shown.

Bird In Flight published a dedicated feature by Olga Osipova on Efremova's photographic series One-on-One, exploring personal boundaries and intimacy between close partners.

In an interview published on 11 February 2026, Efremova described working as a project manager at a design agency and applying management and production skills to artistic practice. The employer and employment dates were not specified.

An interview published on 11 February 2026 records Efremova's earlier work in EdTech. It does not identify the employer, position or employment period.

Efremova completed the joint Garage Museum–HSE master's programme Curatorial Practices in Contemporary Art in 2021.

Efremova's CV records participation in laboratories and performance classes at SDVIG Studio in Saint Petersburg in 2018–2019.

Efremova's CV records participation in a dummy workshop led by Kazuma Obara in Saint Petersburg in 2018.

Efremova's CV records participation in a workshop with Elena Anosova in Saint Petersburg in 2018.

Efremova entered Fotografika's advanced photography course in 2017 and graduated in 2018.

Jane Efremova participated in a workshop with Anna Block in Moscow in 2017.

Efremova graduated from the International Law Faculty of the Russian Foreign Trade Academy in 2016.

Jane Efremova participated in a portrait course with Vika Bukovskaya in Saint Petersburg in 2016.

Jane Efremova's Flickr photography account was opened in October 2013. Its profile lists Moscow as her hometown and Saint Petersburg as her city of residence, and links a Cargo portfolio under her name.

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Her artist website, including a biography and CV.