In a candid interview, Marina Lizorkina, a former member of the pop group SEREBRO, spoke about her current life and past relationships within the trio. She indicated that she has not maintained contact with Olga Seryabkina since their paths diverged. The singer noted that her relationship with Elena Temnikova remains warmer, with occasional conversations that catch up on life, work, and paths taken since the group’s heyday. The discussion offered a rare window into the real dynamics behind one of Russia’s most talked-about girl groups during the late 2000s. Lizorkina emphasized that the connection with Temnikova persists in small, human moments rather than public fanfare, underscoring the complexity of friendships formed in the demanding world of pop music.
SEREBRO operated from 2006 to 2019, a span that included rapid shifts in membership and public interest. The original lineup featured Elena Temnikova, Olga Seryabkina, and Marina Lizorkina, and the group burst onto the international stage with their 2007 Eurovision appearance. Their debut in the final of the contest saw Russia represented with the track Song #1, a performance that earned third place and helped launch the band into both domestic fame and foreign attention. The early days were marked by intense touring, media scrutiny, and the challenge of sustaining momentum as new opportunities and pressures came from every corner of the music industry. Those years left a lasting imprint on the artists and their subsequent careers.
Lizorkina has described SEREBRO as both her first and only project that she absolutely loved and hated at once. It was not simply a vehicle for financial gain; for her, the group was a laboratory for experimentation, a place to test ideas and push boundaries. The creative energy within the trio created memories that she still carries with her. The thrill of performance, the camaraderie with teammates, and the sense of being part of something that felt bigger than a single song all contributed to a formative period in her life. Even now, those experiences are described with warmth and a touch of nostalgia, revealing a complex attachment to a moment in time.
Discussing the day she left the group, Lizorkina recalled that the contract terms were not rigid. She explained that she gave advance notice and that there was a thorough discussion about the transition. The production center reportedly had enough time to search for a replacement, ensuring a smooth continuation for the group and its plans without sudden disruption. The way the departure was handled reflected a business reality in which artistic choices intersect with contractual realities, a balance that many performers encounter when they decide to pursue a new path. The honesty of that moment suggests there was mutual respect for the decision and a pragmatic approach to the logistics.
Following her exit from SEREBRO, Lizorkina pivoted toward a different form of artistry. She began a career as a visual artist and started to present her oeuvre in a Moscow gallery. Her practice soon expanded to organizing exhibitions that brought together works from various artists, creating opportunities for dialogue between different forms of creativity. The shift from stage to studio allowed her to explore new languages and to express ideas that could not be captured within the confines of a public pop performance. Networking within the Moscow arts scene helped her to build a reputation as a thoughtful, committed curator of contemporary art as well as a maker.
Over the years there have been discussions and clarifications regarding the terms offered for a refreshed SEREBRO lineup. The conversation around restructuring the group has recurred in various interviews and industry reports, illustrating the broader questions that artists face when a popular project seeks to reinvent itself. Lizorkina’s experiences provide a window into how such negotiations unfold behind the scenes, including how decisions are made about creative direction, membership, and compensation for performers who might join a new formation. The story underscores that pop groups are, at their core, evolving entities shaped by both art and business.
Her reflections also touch on the pressures of public visibility and the realities of a music career. While the group enjoyed remarkable moments, there were also costs associated with constant travel, media attention, and the relentless pace of release schedules. The years that followed saw Lizorkina pursuing a more private creative life, choosing projects that allowed more control and deeper personal resonance. The arc from being part of a chart-topping act to shaping a personal artistic practice demonstrates a trajectory that many performers experience when the spotlight shifts and new opportunities arise in different forms. The narratives she shared remind fans that artists carry many chapters within their careers.
Today, the artist maintains a dual identity as a former pop figure and a contemporary artist. The transition is not merely a change of stage or studio; it reflects a broader evolution in how she sees art, creativity, and audience engagement. The conversations she has about the past are balanced with a clear forward-looking focus on what she produces and curates today. In the end, her story weaves together music history, personal growth, and the ongoing exploration of visual expression, illustrating how a public career can inform and enrich a subsequent, more private calling in the arts.