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Academician Uroš Predić: A 1920 portrait enters the Foster + Svensson Private Art Collection

F + S — Tue, 13 Oct 2026 19:40:44 +0000

Novi Sad, Serbia – Foster + Svensson has acquired an artwork by Academician Uroš Predić, Portrait of Smilja Radosavljević Janković, painted in 1920, for its Private Art Collection.

Executed in oil on canvas mounted on board, the portrait enters the collection with an unusually rich historical record. Its significance lies not only in the identity of its author and the quality of the work, but also in the surviving documentation that connects the painting to Predić’s artistic legacy, to the name of its sitter, and to the historical geography of Banat. Most importantly, the work can be traced to a contemporary historical record of Predić’s oeuvre compiled by Mihovil Tomandl and published in 1963.

The acquisition therefore represents more than the addition of a significant work by one of Serbia’s most important painters. It brings into the Foster + Svensson Private Art Collection a work whose history can be studied through a combination of the painting itself, expert documentation, provenance records and a published bibliographic source.

PHOTO: Academician Uroš Predić (1857 – 1953).

Academician Uroš Predić

Born in Orlovat in 1857, Uroš Predić received his early education in Pančevo before continuing his studies at the Academy of Fine Arts in Vienna. He entered the Academy in 1876 and graduated in 1880, studying under the distinguished Austrian painter and professor Christian Griepenkerl. Predić subsequently worked in Griepenkerl’s private studio and became closely involved with the academic artistic environment of Vienna, including work as an assistant at the Academy.

His Viennese education placed him within the Central European academic tradition of the late nineteenth century, while his subsequent career became deeply connected with Serbian cultural and artistic life. Predić became one of the defining representatives of academic realism in Serbian painting and one of its most accomplished portraitists. His biography, education, institutional career and academic distinctions are documented by the Serbian Academy of Sciences and Arts (SANU).

His career also reflects the cultural exchange between Serbia and the wider Central European artistic world. In 1889, Predić exhibited at the Exposition Universelle in Paris, presenting Herzegovinian Refugees and Orphan at Mother’s Grave. He received a bronze medal at the exhibition, while the Serbian-American scientist and philanthropist Mihajlo Pupin encountered the two works there and acquired them, subsequently donating them to a museum in Belgrade. This episode is documented in research published by the Museum of Vojvodina.

Predić’s artistic legacy encompasses portraiture, religious painting, historical compositions, genre scenes, drawings and monumental works. Among the best-known works associated with his name are Merry Brothers, Orphan at Mother’s Grave, Herzegovinian Refugees, Kosovo Maiden and Saint Sava Blesses the Serb Youth. His importance within Serbian academic realism and the continuing presentation of his work are reflected in the SANU exhibition Uroš Predić – The Noble Essence of Everyday Life.

Predić and the art of portraiture

Portraiture occupied a particularly important place within Predić’s oeuvre. His portraits are distinguished by the discipline of academic drawing, close observation and careful attention to the structure of the face, posture, clothing, materials and individual presence of the sitter. For Predić, portraiture extended beyond the representation of appearance. His portraits document individuals and, through them, the social and cultural world in which they lived. He portrayed prominent figures of Serbian public and cultural life as well as members of families and communities with whom he was personally connected.

Portrait of Smilja Radosavljević Janković belongs to this important aspect of his work. Painted in 1920, it dates from the mature period of an artist whose career had already extended across several decades and whose artistic language had been formed through both Viennese academic training and a sustained engagement with Serbian society and culture.

The painting is also particularly significant because its historical identity is supported by documentation extending beyond the object itself.

PHOTO: “Portrait of Smilja Radosavljević Janković”, oil on canvas mounted on board, from 1920. © Academician Uroš Predić; Foster + Svensson Private Art Collection.

A portrait with a documented historical record

The painting bears the signature “U.P. 19.X.1920”, providing a direct physical indication of the year in which it was executed. Its authenticity has been independently confirmed in expert documentation by art historians and museum advisors Nikola Kusovac and Mile Ignjatović, whose assessments identify the work as an original painting by Academician Uroš Predić, dated 1920, and identify the sitter as Smilja Radosavljević Janković.

The provenance documentation accompanying the work traces it to the artistic estate of Uroš Predić, preserved by his heirs in Pančevo, and records its subsequent history as a privately preserved work. The documentation also connects the painting with Tomaševac, a place that appears in the historical record of Predić’s work and family connections. Most significantly, the portrait has a direct reference in Mihovil Tomandl’s systematic bibliography and list of Predić’s works. Tomandl was a historian, bibliographer and close friend of Uroš Predić. Predić himself had maintained an extensive inventory of his works, and Tomandl subsequently used this material, together with his knowledge of the artist and his oeuvre, in preparing a systematic record.

Published by Matica Srpska in 1963, Tomandl’s Bibliografija i spisak radova Uroša Predića includes the work under entry 1252, in the section devoted to works from 1920. The entry reads: “Смиља М. Радосављевић, поклон, Томашевац.” In English, this may be rendered as: “Smilja M. Radosavljević, gift, Tomaševac.” The entry is found on page 163 of the published bibliography.

The complete digitised issue of the Matica Srpska Proceedings for Social Sciences provides direct access to the publication in which Tomandl’s bibliography appeared. The bibliographic record identifies the work as published in 1963 in volume 35, on pages 143–171. This short historical record is unusually valuable. Within a single line, it preserves the sitter’s name, the year of the work, its status as a gift, and its connection with Tomaševac. It provides an independent historical point of reference for a painting that has survived for more than a century.

For the history of the present work, the Tomandl entry is particularly important because it predates the painting’s present ownership by many decades. It places the work within a published record of Predić’s oeuvre and preserves a documentary connection between the portrait, the name Radosavljević and Tomaševac.

Predić, Tomaševac and the Radosavljević name

Tomaševac occupies a meaningful place in the broader biography of Uroš Predić. Historical material published by the National Museum of Serbia records Predić’s connections with relatives in Tomaševac and his stays there, during which he observed and sketched everyday life in Banat.

The village also appears in documentation relating to Predić’s wider family circle and artistic activity. Predić portrayed members of several Pančevo families, including members of the Radosavljević family; the National Museum of Pančevo preserves documentation concerning Predić’s portraiture and his connections with families of Pančevo, including the Radosavljević family.

These connections provide historical context for the present portrait without requiring assumptions about the precise genealogy of Smilja Radosavljević Janković. The documentary record is strongest where it is most specific: the name recorded by Tomandl, the place Tomaševac, the year 1920, the designation of the work as a gift, the physical signature and the later provenance and expert documentation.

For a work intended to remain available to future research, preserving that distinction between documented evidence and interpretation is itself part of responsible collecting.

A legacy held across museums and private collections

Predić’s legacy today is distributed across major Serbian cultural institutions, museum collections and private holdings. The scale and continuing relevance of his oeuvre have been demonstrated by major exhibitions bringing together works from the Gallery of Matica Srpska, the Serbian Academy of Sciences and Arts, the National Museum of Serbia, the National Museum of Zrenjanin, the National Museum of Pančevo, the Museum of the Serbian Orthodox Church, the Belgrade City Museum and other institutions.

Importantly, such exhibitions have also included works from private collections, many of which had not previously been exhibited to a wider audience. This aspect of Predić’s reception is significant for understanding the role of responsible private collecting in preserving cultural heritage: works that remain outside institutional collections may nevertheless retain substantial historical and scholarly value and can, when properly documented and preserved, contribute to the broader understanding of an artist’s oeuvre.

Predić’s own legacy is similarly preserved through more than paintings alone. Material associated with his life and work includes drawings, studies, photographs, letters, diaries, personal objects, catalogues and other documentation. A substantial part of the contents of his Belgrade studio was transferred to the National Museum of Zrenjanin in 1954, providing an unusually rich documentary foundation for the study of his artistic and personal world. This aspect of his legacy is discussed by SANU in its presentation of Predić’s studio and surviving material.

Recent exhibitions and scholarly initiatives have continued to bring previously little-seen or privately preserved Predić works into public and academic attention. The Gallery of Matica Srpska’s presentation of Uroš Predić u Sentandreji is one contemporary example of a Predić work preserved for decades within a private family heritage before being brought into wider public and scholarly attention. This continuing process of identification, preservation and interpretation demonstrates that the history of Predić’s oeuvre is not closed: works preserved in private hands can still contribute to the reconstruction of an artist’s career and the cultural environment in which he worked.

Contemporary recognition of Predić’s work

Predić’s historical importance is accompanied by continuing contemporary recognition. On 28 April 2025, a portrait by Uroš Predić, A Girl (Angelina, the Artist’s Niece at the Age of 7) with a Book in a Red Armchair, was sold at Dorotheum Vienna for €169,500, setting a new auction record for a work by the artist. The realised price was eleven times the presale estimate, and the painting was subsequently secured by the National Museum of Serbia.

The significance of this event extends beyond the financial result. It demonstrates continuing international interest in Predić’s work and the active reintroduction of important works from private and international markets into public cultural collections.

The story of Portrait of Smilja Radosavljević Janković belongs to this broader contemporary process of rediscovery and preservation. Its destination, however, is not the marketplace. It is the Foster + Svensson Private Art Collection, where the work joins a long-term cultural initiative centred on the preservation of significant works of art and the histories surrounding them.

Preserving a work of Serbian artistic heritage

The acquisition of Portrait of Smilja Radosavljević Janković reflects a principle at the heart of the Foster + Svensson Private Art Collection, a work of art is not defined solely by its physical presence, but also by the knowledge, documentation, memory and cultural context that accompany it. A painting such as this carries several histories at once. There is the history of its creation by Academician Uroš Predić; the history of its sitter; the history of the families and places connected with it; the history of its preservation; and the history of the people and institutions through whose records it can still be traced.

The Tomandl entry from 1963 is therefore more than a bibliographic reference. It is part of the painting’s documentary identity. The expert assessments of Nikola Kusovac and Mile Ignjatović, the physical signature dated 1920, the provenance documentation and the historical references to Tomaševac and the Radosavljević name together form a body of evidence that allows the work to be understood within the wider history of Predić’s art.

Foster + Svensson regards the preservation of such information as an integral part of collecting. By maintaining the work together with its historical and documentary record, the Private Art Collection seeks to ensure that the painting remains not only preserved, but also discoverable and researchable for future generations.

In this sense, the acquisition is both an act of collecting and an act of cultural stewardship.

More than a century after Predić placed his signature and date on the canvas, Portrait of Smilja Radosavljević Janković enters a new chapter of its history. Its preservation within the Foster + Svensson Private Art Collection ensures that the painting, together with the documentary trail surrounding it, remains available as part of the continuing story of Serbian art.

Artwork details

Artist: Academician Uroš Predić (1857–1953)
Title: Portrait of Smilja Radosavljević Janković
Serbian title: Rođaka Smilja
Date: 1920
Medium: Oil on canvas mounted on board
Artistic movement: Academic Realism
Signature: “U.P. 19.X.1920”
Collection: Foster + Svensson Private Art Collection
Artwork acqusition date: 10.10.2026

Research and reference record:

The principal historical reference for the present work is Mihovil Tomandl, Bibliografija i spisak radova Uroša Predića, Matica Srpska, 1963, entry no. 1252, p. 163, published in Zbornik Matice srpske za društvene nauke, vol. 35, pp. 143–171. The digitised publication is available through the Matica Srpska digital archive.

Additional institutional references include:

The work’s provenance and authenticity documentation are preserved with the painting in the Foster + Svensson Private Art Collection.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and marketing company with heritage back in 1746 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing and technology. Having bold experience and specialized skills in more than 20 industries, company provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Company approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Raiffeisen Bank, Banca Intesa, Addiko Bank, AikBank, Visa, Mastercard, Ericsson, Nokia, Telenor Group, Apple, Vodafone Group, A1 Telekom Austria Group, T-Mobile, CNN, RTS, Ringier Axel Springer, Samsung, Cheil, McCann Worldgroup, MullenLowe Group, Grey Worldwide, Carat, Dentsu Aegis Network, WPP, Publicis Groupe, Leo, Saatchi & Saatchi, Huawei, HONOR, Hisense, Gorenje, Asko, Ahold Delhaize, Maxi, Nestlé, Procter & Gamble, AstraZeneca, Richter Gedeon, URSAPHARM, Takeda, Inditex, Zara, Zara Home, BMW Group, Renault Group, FIAT, Knight Frank. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Vidapharm appoints Foster + Svensson MED

F + S — Thu, 01 Oct 2026 10:49:14 +0000

Belgrade, Serbia — Vidapharm has appointed Foster + Svensson MED as its marketing and communications partner, extending Foster + Svensson’s work across the healthcare, medical and pharmaceutical sector.

Foster + Svensson MED is a specialized unit of Foster + Svensson focused on marketing communication solutions for healthcare, medicine and pharmaceuticals. Its work brings together strategy, communication, design and digital development to translate complex healthcare and pharmaceutical subjects into clear, purposeful and effective experiences for both professional and wider audiences. Its capabilities span brand strategy and identity, product and corporate communication, packaging and labeling, digital development, websites and e-commerce, content and social media, PR and regulatory communication, as well as data and performance solutions.

Based in Belgrade, Vidapharm is a pharmaceutical company established in 2002. For more than two decades, the company has developed its business around healthcare and patient needs, working with healthcare professionals across areas including gynaecology, urology, endocrinology, cardiology and vascular surgery. Vidapharm is an official distributor and partner of Alfasigma (PWI, PM, Ezerex), Sunn Biolabs (Cysturol, UroloQ) and Thorne Research Inc. (5-MTHF, Magnesium Citramate, Thyrocsin, Biotin 8mg) for the Southeast European market, with its portfolio including pharmaceutical and nutritional products available through pharmacies and other distribution channels.

Among the international brands represented by Vidapharm is Thorne, a US-based health and wellness company founded in 1984. Originally established as Thorne Research, the company has developed a portfolio of nutritional supplements and health solutions built around research, ingredient quality and rigorous manufacturing and testing standards.

PHOTO: Thorne.

Vidapharm’s Thorne portfolio includes Magnesium Citramate, Thyrocsin, 5-MTHF and Biotin 8mg, covering nutritional solutions related to areas such as magnesium supplementation, thyroid health and folate. The products form part of Vidapharm’s broader portfolio of pharmaceutical and nutritional solutions brought to the Southeast European market.

As part of the engagement, Foster + Svensson MED will take responsibility for Vidapharm marketing and communications activities, with the work extending across the company and its portfolio of distributed brands. The initial scope includes the redesign and development of Vidapharm’s digital presence and e-commerce platform, the establishment of graphic and communication standards, and the creation of a coherent system of visual and communication materials for Vidapharm and the brands it represents.

The engagement will also encompass the ongoing development and management of Vidapharm digital and e-commerce activities, supporting the company’s communication, commercial and customer-facing touchpoints within a unified digital framework. The work is intended to establish a consistent communication framework across corporate, professional and consumer-facing touchpoints, while creating a clearer relationship between Vidapharm as a healthcare company and the international brands within its portfolio.

The collaboration brings together Vidapharm experience in pharmaceutical distribution with Foster + Svensson MED specialized expertise in healthcare communication, creating a structured platform for the company’s next phase of digital, visual, marketing and e-commerce development.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and marketing company with heritage back in 1746, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing and technology. Having bold experience and specialized skills in more than 20 industries, company provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Company approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Raiffeisen Bank, Banca Intesa, Addiko Bank, AikBank, Visa, Mastercard, Ericsson, Nokia, Telenor Group, Apple, Vodafone Group, A1 Telekom Austria Group, T-Mobile, CNN, RTS, Ringier Axel Springer, Samsung Group, Cheil, McCann Worldgroup, MullenLowe Group, Grey Worldwide, Carat, Dentsu Aegis Network, WPP, Publicis Groupe, Leo, Saatchi & Saatchi, Huawei, HONOR, Hisense, Gorenje, Asko, Ahold Delhaize, Maxi, Nestlé, Procter & Gamble, AstraZeneca, Richter Gedeon, URSAPHARM, Takeda, Vidapharm, Inditex, Massimo Dutti, Zara, Zara Home, BMW Group, Renault Group, FIAT, Knight Frank. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Vladimir von Bergdorff wins Creativepool Annual Award 2026 for Apothecary

F + S — Fri, 11 Sep 2026 05:03:27 +0000

London, United Kingdom — Group Managing Director of Apothecary and Foster + Svensson, Vladimir von Bergdorff, has won the Creativepool Annual Award 2026 in the “Web” category for the “Apothecary Brand Design Refresh” project, which represents a new level in the development and enhancement of the digital, visual and corporate identity of the luxury online drugstore Apothecary.

The recognition represents a significant international achievement for Vladimir von Bergdorff, who was previously nominated in two categories of this year’s Creativepool Annual programme: “Web”, for the “Apothecary Brand Design Refresh” project, and “Next Gen Leader 2026”, a category recognising the next generation of leaders in business.

Vladimir von Bergdorff is also the only representative from Serbia to have been nominated and subsequently recognised with an award at the Creativepool Annual Awards this year, giving the achievement additional significance for Serbia’s creative, marketing and business community.

The award-winning “Apothecary Brand Design Refresh” project represents a comprehensive approach to brand development, bringing together strategy, marketing, identity, digital design and user experience.

PHOTO: Mag. Vladimir von Bergdorff, MA.

Over the past years, Apothecary has been developed as a sophisticated digital platform bringing together a broad portfolio of products across premium skincare and body care, dermocosmetics, supplements and wellness. The development of the new visual system was aimed at further strengthening brand recognition, communication clarity, identity consistency and its long-term flexibility.

A particular challenge was to develop an identity capable of functioning within a complex digital ecosystem and across different communication formats, while at the same time preserving the character, sophistication and recognisability of the Apothecary brand.

The project developed a system in which visual identity was not viewed merely as an aesthetic element of communication, but as a functional foundation for the brand’s further development. The digital platform, user experience, product presentation and the way different types of content connect with the brand were all considered as parts of a unified system.

PHOTO: Apothecary Brand Design Refresh.

This approach formed the basis for the project’s international recognition, first through its nomination at the Creativepool Annual Awards 2026 and now through the award in the best website category. Creativepool defines this category as encompassing work created for the web, including corporate websites, campaigns, portfolios and interactive projects, with design, functionality, creativity and user experience taken into consideration.

For Vladimir von Bergdorff, the recognition represents confirmation of his work at the intersection of creative strategy, branding, marketing and technology, as well as evidence that projects created in Serbia can be presented on an equal footing on the international creative and business stage.

“I am thankful to Creativepool, its jury and the entire creative community for this recognition, as well as for the support they provide to people, companies and agencies who strive to push the boundaries of their industries. It is particularly meaningful to me that the award was given for a project developed through our work on the Apothecary brand, and that this work was recognised among an outstanding field of international projects and creators.

Recognitions such as this are also valuable because they draw attention to the creative potential that exists beyond the world’s largest markets. I am also grateful to the media that recognise and follow this kind of work, because it is through them that innovative, creative, technological and business contributions become visible to a wider audience. I believe it is important that successful projects from Serbia are also discussed in an international context, because they are part of a broader story about the potential of our country, its people and its companies to create value that can be relevant beyond the local market.”

The Creativepool Annual Award 2026 follows a series of international recognitions and nominations associated with the work of Vladimir von Bergdorff, Foster + Svensson and the Apothecary brand. The Apothecary Brand Design Refresh project had previously attracted the attention of the international professional community, including the World Brand Design Society (WBDS), which selected the project as a “Featured Project” and presented it to its international professional audience.

The nomination, followed by the award at the Creativepool Annual Awards 2026, further confirms the continued international visibility of this work, as well as an approach in which marketing, sales, branding, design and digital technology are viewed as interconnected disciplines.

The Creativepool Annual programme and its award categories feature numerous leading global brands, companies and creative organisations, including The Coca-Cola Company, Mercedes, Audi, Volvo, Nike, Adidas, Carlsberg, Hendrick’s Gin, PepsiCo, Pernod Ricard, Absolut, Aperol, Alpro, Tiffany & Co., Ericsson, Deutsche Telekom, W Hotels, Lloyds Banking Group, Amazon, Sky, BBC, Wired and Google, as well as international creative networks and agencies such as McCann Worldgroup, Dentsu, Publicis Groupe, VML, Ogilvy, Cheil, Interbrand and others.

PHOTO: Mag. Vladimir von Bergdorff, MA.

In such an international environment, the fact that Vladimir von Bergdorff is the only representative from Serbia to have been nominated and subsequently awarded represents a significant achievement not only for the author and the project, but also for the visibility of Serbia’s creative industry on the global stage.

Creativepool is an international professional network for the creative industries, connecting creative professionals, agencies, production companies, brands, corporations and other participants across marketing, advertising, design and communications. Its annual Creativepool Annual programme represents an international gathering of the creative industry, featuring work and nominations from different parts of the world. Creativepool winning work is published in its Annual editions, providing additional international visibility among professionals and decision-makers in the creative and marketing industries.

For Vladimir von Bergdorff, Foster + Svensson and Apothecary, this recognition represents another confirmation that high-quality strategic, creative and digital work created in Serbia can be positioned and recognised on an equal footing on the international stage, contributing to greater international visibility for Serbia’s creative and digital potential and to the creation of new standards in the creative and digital industries.

ABOUT FOSTER + SVENSSON

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Foster + Svensson acquires original artwork by Daniela Fulgosi – “The Cyclus – Figures”

F + S — Mon, 07 Sep 2026 13:13:48 +0000

Belgrade, Serbia – Foster + Svensson continues to expand its Private Art Collection with the acquisition of an original artwork by Serbian artist and professor Daniela Fulgosi, further strengthening the company’s commitment to contemporary and modern artistic expression, cultural preservation, and the recognition of significant artistic practices.

The newly acquired work, “The Cyclus – Figures”, is an original mixed-media work on paper. The composition brings together expressive drawing, saturated colour fields, gestural marks, and strong linear interventions. Dominated by vivid tones of orange, magenta, red, and black, the work moves between figuration and abstraction, allowing the human figure to emerge through overlapping planes, fragments, and energetic contours.

Rather than presenting the figure as a traditionally defined subject, Fulgosi treats it as a visual structure. Broad areas of colour establish mass and rhythm, while black lines introduce a sense of movement, tension, and direction. The result is a work in which the physical presence of the figure is inseparable from the materiality of the paper and the visible process of making.

This approach is closely connected to Fulgosi’s wider artistic language. Her practice encompasses drawing, printmaking, collage, artist’s books, and combinations of techniques on paper. Her work has developed over several decades through an ongoing investigation of the relationship between line, gesture, memory, material, and the human condition. In a 2023 artist profile, Fulgosi described drawing as her primary form of expression and emphasized her continued work across drawing, collage, artist’s books, and combinations of techniques on paper.

PHOTO: Daniela Fulgosi, “The Cyclus – Figures”, mixed-media work on paper, 30×21 cm. Foster + Svensson Private Art Collection © Daniela Fulgosi.

Fulgosi was born in Zemun (Belgrade), Serbia, in 1967. She graduated from the Faculty of Applied Arts in Belgrade in 1991 and completed her postgraduate studies there in 1995. She has been a member of the Association of Fine Artists of Serbia (ULUS) since 1992 and has served as a full professor at the Faculty of Applied Arts in Belgrade, where she has also held the position of dean. Her artistic practice includes drawing, printmaking, collage, and artist’s books.

Her career has been marked by extensive exhibition activity in Serbia and internationally. Fulgosi has presented numerous solo exhibitions and participated in hundreds of group exhibitions, including international exhibitions and graphic art biennials and triennials in Japan, Norway, France, Italy, Poland, Switzerland, Bulgaria, India, and other countries. Her work has been exhibited at institutions and venues including the Museum of Contemporary Art in Belgrade, the Kolarac Endowment Gallery, the Graphic Collective Gallery, the ULUS Gallery, and the Cultural Centre of Belgrade.

Fulgosi artistic achievements have also been recognized through a number of important awards, including the International Golden Pen of Belgrade, the October Salon Award for Printmaking, the award at the Belgrade Biennial of Drawing and Small Sculpture, the Grand Seal of the Graphic Collective in 2001, and the Golden Needle of ULUS. Her works are held in collections including the Museum of Contemporary Art in Belgrade, the Belgrade City Museum, the Gallery of Contemporary Fine Art in Niš, and other institutional and private collections.

Contemporary Serbian art

Fulgosi’s significance within contemporary Serbian art is particularly evident in the development of her visual language. Earlier stages of her practice were characterized by strongly figurative and expressive representations of the human body, often using enlarged fragments of faces and torsos. Art historians have described her graphic work as being distinguished by an expressive drawing language, dramatic cropping, gestural spontaneity, and a strong sense of visual rhythm.

Over time, her practice expanded toward collage and mixed techniques, with the material structure of the work becoming increasingly important. Her series “The Measure of Survival”, for example, brought together drawings and collages produced between 2016 and 2018, combining carefully constructed drawing with materials of different origins. The works explore memory, experience, time, and personal and universal themes through layered visual structures.

This development provides an important context for “The Cyclus – Figures.” The acquired work retains the artist’s longstanding interest in the human figure while presenting it through a more open and materially dynamic language. The juxtaposition of vivid colour, gestural drawing, and graphic contours creates a tension between recognizable form and abstraction. In this sense, the work can be understood as part of Fulgosi’s broader exploration of how the figure can function simultaneously as an image, a memory, a gesture, and a compositional device.

Fulgosi’s recent activity further confirms the continuing relevance of drawing and works on paper within her practice. In June and July 2026, ULUS presented “Daydreaming,” a solo exhibition of her drawings, collages, and works on paper. The exhibition explored imagined realities, memory, personal experience, and inner freedom, demonstrating the continuing vitality of her approach to the medium.

Her work has also been presented in significant dedicated exhibitions such as “The Measure of Survival” at WHY NAT in 2018, a presentation of her latest works on paper, and the retrospective “Dark Passage / Tamni prelaz” at the Art Gallery in Kruševac in 2023. The latter brought together drawings and collages produced over approximately a decade, demonstrating the continuity of her exploration into memory, reality, human experience, and the consequences of individual and social processes.

The significance of Fulgosi’s oeuvre

The artwork “The Cyclus – Figures” acquired by Foster + Svensson, broader significance of Fulgosi’s oeuvre, her established exhibition history, institutional presence, awards, and the importance of drawing and mixed-media works on paper within contemporary Serbian art. This acquisition also carries a particular institutional and personal significance for Foster + Svensson.

Daniela Fulgosi was a professor to Vladimir von Bergdorff, Group Managing Director of Foster + Svensson, during his studies at the University of Arts in Belgrade. The inclusion of her work in the company’s collection therefore establishes a direct connection between artistic education, professional development, and the cultural environment in which the company’s contemporary creative philosophy has evolved.

“Art and design have always been at the core of Foster + Svensson. Acquiring the work of Daniela Fulgosi has a particular meaning because her artistic practice represents the kind of intellectual and visual discipline that we value, a continuous exploration of form, material, expression, and meaning. Her role as a professor during my studies makes this acquisition especially personal, but also connects our present creative practice with an important part of our educational and cultural heritage. This is also a recognition and gratitude for the lessons learned,” said Mag. Vladimir von Bergdorff, MA, Group Managing Director of Foster + Svensson.

Foster + Svensson Private Art Collection

The acquisition forms part of the ongoing development of the Foster + Svensson Private Art Collection, which has been built through a deliberate and sustained process of acquisition guided by curatorial principles and expert insight. The collection brings together historical legacy and contemporary expression, with works selected for their aesthetic qualities as well as their ability to illuminate artistic processes, encourage inquiry, and create dialogue between different periods and approaches to art.

The collection includes works associated with artists such as Nadežda Petrović, Milan Konjović, Victor Vasarely, Ljubica Cuca Sokić, Dunja Jung, and other established and emerging artists. Its purpose extends beyond the preservation of individual artworks: it creates an environment in which employees, collaborators, and visitors can encounter artistic thought directly and reflect on visual language, material exploration, and creative processes.

Through its Art Preservation program, Foster + Svensson considers art to carry enduring cultural and intellectual value. A portion of the company’s profits is allocated toward acquiring and preserving artworks, with the intention of building a cultural repository whose significance can extend across generations. The company views these acquisitions as both an investment in cultural heritage and an expression of recognition and support for artists.

The addition of Daniela Fulgosi’s “The Cyclus – Figures” continues this approach by bringing a distinctive contemporary voice into dialogue with the modern and contemporary works already held within the collection, as a perfect add-on. Its combination of expressive figuration, abstraction, colour, and material gesture reflects the kind of creative inquiry that sits naturally within Foster + Svensson’s own environment, where visual culture, design, communication, and innovation continuously intersect.

The Foster + Svensson Private Art Collection thus continues to evolve not simply as a repository of artworks, but as a living cultural framework: a place where artistic heritage, contemporary practice, education, and creative thinking meet.

ABOUT FOSTER + SVENSSON

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Data centre infrastructure and the energy systems around it

F + S — Tue, 01 Sep 2026 11:40:31 +0000

Artificial intelligence has become part of the business landscape with unusual speed. It is already helping companies analyse information, develop software, automate routine processes, improve customer service, detect fraud, optimise logistics and production, support research and make sense of increasingly complex datasets. It is also finding its way into areas that were, until recently, considered distinctly human: writing, design, translation, communication and creative work.

For most people, this transformation happens on a screen. Behind the screen, however, something much larger is taking place.

AI requires computing power, and computing power requires physical infrastructure. The servers running today’s AI systems sit in data centres containing thousands of processors, sophisticated networking equipment, cooling systems, backup power and security infrastructure. As AI becomes more capable and more widely used, these facilities are becoming larger, denser and more strategically important.

But AI is only one part of the story.

Data centres support much of the digital economy, including cloud computing, enterprise software, online services, telecommunications, financial systems, streaming, storage, cybersecurity, scientific research and everyday business operations. The demand created by these services is already substantial, and AI is adding a new and particularly intensive layer on top of an infrastructure sector that was growing long before generative AI became a mainstream topic.

The energy implications are already significant. According to the International Energy Agency, data centres consumed around 415 terawatt-hours of electricity worldwide in 2024, approximately 1.5% of global electricity consumption. The IEA expects global data-centre electricity demand to more than double by 2030, with AI as one of the most important drivers of that growth.

These numbers explain why data centres have moved from the background of the digital economy into the centre of infrastructure planning. They also make the environmental side of the story impossible to separate from the technological one.

Electricity, cooling, water, land, construction materials, networks, backup systems, and local energy infrastructure are all part of the same picture.

The most interesting developments, however, are beginning to show that a data centre does not necessarily have to be viewed only as a large consumer of resources. In several places around the world, the heat generated by computing is already being recovered and used to heat homes, offices, greenhouses, and industrial facilities.

The idea is surprisingly simple. The engineering behind it is considerably more sophisticated, but the principle is straightforward: energy that has already been consumed for computing can sometimes remain useful after the computing has been completed.

That changes the environmental equation.

The physical reality behind the cloud

The expression “cloud computing” has always hidden something rather physical. There is no cloud in the literal sense. There are buildings. Those buildings are increasingly sophisticated industrial facilities, and AI is changing their design. But the underlying purpose of a data centre is broader than AI. It is to provide a controlled, secure, and continuously available environment for computing, storage, networking, and digital services.

Traditional data centres accommodate a wide range of workloads. Enterprise applications, databases, websites, cloud platforms, email, file storage, backup systems, online transactions, telecommunications services, and streaming platforms all require data-centre capacity. Many businesses also rely on data centres for disaster recovery, cybersecurity monitoring, virtual desktops, software development, and the operation of critical internal systems.

These workloads have different technical characteristics. Some require large amounts of storage, while others depend on fast network connections or low latency. Some need predictable processing capacity, while others fluctuate according to customer demand. Financial services and telecommunications may require extremely high availability, while scientific and engineering workloads can require specialised computing resources. Cloud services need to scale rapidly across multiple locations.

AI workloads are different again.

Training and running advanced models require large concentrations of specialised processors, creating far greater power density inside the facility. Inference, the process of using a trained model to generate a response or perform a task, can also create substantial demand when AI services are used at scale.

The consequence is not simply a larger electricity bill. High-density computing generates considerable heat, which has to be removed continuously. Cooling therefore becomes a major engineering consideration alongside power availability, network connectivity, physical security, and the ability to maintain operations during disruptions.

The location of a data centre becomes equally important. A facility may be selected because it has access to renewable electricity, a stable grid, suitable land, strong fibre connectivity, a cool climate, available water, or proximity to customers. In many cases, no single location offers every advantage, so operators must balance energy, connectivity, latency, resilience, regulation, construction costs, and the needs of the surrounding community.

The Nordic region has attracted particular attention because of its combination of relatively low-carbon electricity, cooler climates that can reduce cooling requirements, and room for further infrastructure development.

Finland provides an especially interesting example. The country’s electricity system is already dominated by low-carbon generation, while its district-heating infrastructure creates an additional opportunity: the heat produced by data centres can potentially become part of the energy system rather than simply being released into the atmosphere.

That distinction matters.

A data centre does consume energy, whether it is running AI models, storing business data, hosting websites, or supporting cloud applications. The environmental and economic consequences depend greatly on where that energy comes from, how efficiently it is used, and what happens afterwards.

The heat that used to disappear

Almost all electricity consumed by computing equipment eventually becomes heat. In a conventional facility, cooling systems remove that heat and transfer it outside the building. For many years, this was simply considered part of the process.

Today, an increasing number of operators, energy companies, and municipalities are looking at the same heat differently. The opportunity is particularly strong in cities with district-heating networks, where large quantities of hot water are already circulated through underground pipes to homes and businesses. A data centre located close to such a network can become another source of heat within the system.

The heat produced by servers can be captured through heat exchangers and transferred into a water circuit. Because recovered heat can be at a lower temperature than the water required by an existing district-heating network, heat pumps can raise its temperature before it is distributed to buildings. The result is that electricity already used for computing can have a second useful application.

The International Energy Agency estimates that around 70–80% of electricity consumed by data centres eventually becomes recoverable heat, and that heat pumps can make a significant proportion of it useful for heating. The IEA estimates that if data-centre waste heat were fully integrated into district-heating networks, it could provide up to 300 TWh of space heating to buildings within approximately five kilometres of data centres in Europe by 2030, enough to cover around 10% of European homes.

That is no longer a niche sustainability idea. It is an energy-infrastructure opportunity.

The IEA’s June 2026 report on renewable district energy reinforces this broader direction, highlighting recovered heat, large-scale heat pumps, and thermal energy storage as important components of cleaner and more resilient heating systems.

Stockholm has been doing this for years

Stockholm offers one of the clearest examples of what happens when the concept is built into a city’s infrastructure strategy. The Stockholm Data Parks initiative was created around the idea that data centres could become suppliers of recovered heat to the city’s district-heating network. Stockholm Exergi operates an “Open District Heating” model in which data centres, supermarkets, and other businesses producing excess heat can supply it to the network.

The system has developed into a genuine marketplace for excess heat. Companies can sell recovered energy to Stockholm Exergi, which then distributes it through the city’s extensive district-heating network. Stockholm Exergi currently reports that excess heat is already being used to heat around 11.000 apartments.

One of the participating companies is GleSYS, whose data centre in Stockholm’s Västberga district has supplied excess heat to the district-heating network since 2017. The system uses heat pumps to cool the data centre while transferring the recovered heat into the city’s heating infrastructure.

The significance goes beyond one facility.

The data centre is no longer simply an electricity consumer. Its operation becomes part of the city’s heating infrastructure, while the district-heating network provides a practical destination for energy that the data centre has already produced as a by-product.

Stockholm Exergi’s stated ambition is for Stockholm’s district heating to be generated entirely from renewable and recovered energy by 2030.

The model demonstrates something important about sustainable infrastructure: environmental value can increase when infrastructure is connected rather than designed in isolation.

Helsinki treats a data centre as a radiator

Telia’s Helsinki Data Center provides another compelling example. The facility was designed from the beginning with heat recovery in mind, allowing excess heat from the data centre to be transferred into Helsinki’s district-heating system.

Telia reports that around 60% of the heat produced by the facility can already be reused, with the long-term goal of reaching approximately 80%. The recovered heat is distributed through Helsinki’s existing network to homes and offices. Telia’s current description of the system says the heat from the Pitäjänmäki data centre is already serving around 7.000 homes and offices, with the potential to reach more than 20.000 homes as utilisation increases.

The important detail is that the heat is not simply captured and stored. It becomes part of an existing urban system. The district-heating network already exists. The buildings already need heat. The data centre already produces heat. Infrastructure connects the three. The system also changes the way cooling is approached. Telia describes a hierarchy in which heat recovery takes priority, followed by free cooling when conditions allow, with mechanical cooling used when necessary. This makes the heat-recovery system part of the operational design rather than an environmental feature added after the fact.

The result is a form of circularity that is remarkably practical. A resource that once had to be removed from the building becomes part of the energy supply for the city.

Denmark is turning surplus heat into household heating

Denmark provides several further examples of the same principle operating at substantial scale. Meta’s data centre in Odense supplies surplus heat to the local district-heating system operated by Fjernvarme Fyn. The project has been designed to recover heat from the data centre and use it to provide heating for local households.

Microsoft has developed another example in Høje-Taastrup near Copenhagen. Its Danish data-centre infrastructure includes a heat-recovery system designed to transfer surplus heat into the local district-heating network, with the potential to supply heating equivalent to the needs of thousands of homes.

These projects demonstrate the importance of proximity. Heat is not as easy to transport over long distances as electricity, which makes the relationship between data-centre location and surrounding infrastructure particularly important.

A data centre located close to a district-heating network has an opportunity that an otherwise identical facility may not have. The physical geography of infrastructure therefore becomes part of its environmental performance.

Finland is taking the idea even further

The most ambitious examples are emerging where data centres are planned alongside energy infrastructure from the beginning. Microsoft’s data-centre development in the Helsinki region is designed around the recovery of surplus heat and its integration into the district-heating systems serving Espoo, Kauniainen, and Kirkkonummi.

Microsoft and Fortum have described a future system capable of supplying heat to approximately 250.000 people. Heat from the data centres will be captured and transferred into a heat-pump facility, where its temperature will be raised before entering the municipal heating network. The project is scheduled to begin operations in 2027.

The significance lies partly in the planning philosophy.

The heat-recovery system is not being treated simply as a sustainability feature attached to an existing data centre. It is being considered as part of the infrastructure surrounding the data centre. That approach creates opportunities that become difficult or impossible to achieve later.

The IEA’s analysis makes the broader potential clear. Espoo is already cited as an example where a cluster of new data centres could eventually provide enough recovered heat for around 100.000 homes.

This is one reason Nordic cities have become particularly interesting in the global data-centre discussion. They combine data-centre investment with established district-heating infrastructure, relatively low-carbon electricity systems, and a long history of integrating different energy sources into municipal networks.

Norway shows what happens outside the city

Not every useful application of data-centre heat involves homes. In Rjukan, Norway, the recipient is a trout farm. Green Mountain operates a data centre approximately 800 metres from Hima Seafood’s land-based aquaculture facility. The two facilities are connected through a heat-reuse system in which excess heat from the data centre is used to maintain the temperature of water in the trout-production tanks.

The first phase became operational in autumn 2025 and is currently being tested at up to 1.75 MW. The companies are studying an expansion to 8 MW. There is an additional layer to the system that makes it particularly interesting. After the water has been used in the aquaculture process, the cooled water can return to the data centre and be integrated into its cooling system.

This is industrial symbiosis in a very literal sense.

The data centre produces heat. The fish farm needs heat. The fish farm produces cooled water. The data centre needs cooling. Two very different businesses can therefore share resources because their operational requirements happen to complement one another.

The project also demonstrates that heat recovery does not need to be confined to major urban centres. It can become part of an industrial ecosystem in a smaller community where two businesses are close enough to share infrastructure.

It is difficult to imagine a better illustration of the principle that waste is often a matter of perspective.

Greenhouses could be another destination

The same principle can apply to agriculture. Greenhouses require controlled temperatures, often in climates where heating represents a significant part of production costs. Data centres, meanwhile, generate heat continuously throughout the year.

Microsoft has highlighted greenhouse agriculture as one of the potential applications for recovered data-centre heat, particularly because greenhouse operations can make productive use of lower-temperature heat.

This creates another form of industrial symbiosis.

The data centre gains a productive outlet for heat that would otherwise need to be removed. The greenhouse gains a source of thermal energy. The surrounding region gains another example of industrial activity being integrated rather than planned independently. The same principle can potentially be applied to other low- and medium-temperature industrial processes.

The important point is not that every data centre should be connected to a greenhouse, fish farm, or district-heating network. The important point is that the physical output of computing can have value somewhere else when infrastructure is planned with that possibility in mind.

Heat does not have to be used immediately

There is another technical challenge when thinking about heat reuse at scale. Data centres operate continuously, while demand for heating fluctuates. Homes need less heat during summer. Industrial demand changes throughout the day. Agricultural requirements follow production cycles. This creates a mismatch between when heat is produced and when it is needed.

Thermal storage can help bridge that gap. The European THUNDER project, coordinated by RINA and funded through Horizon Europe, is developing a system for recovering heat from data centres, storing it during periods of lower demand, and releasing it later for urban heating. The project combines thermal storage, high-temperature heat pumps, and district-heating networks, with a pilot project in Varna, Bulgaria.

This is an important development because the challenge is no longer simply capturing heat. It is matching the timing, temperature, and location of the available energy with the needs of the surrounding system.

The same principle applies to electricity.

Batteries, thermal storage, and flexible computing workloads can potentially help data centres interact more intelligently with the electricity grid, provided that critical workloads remain protected and operational requirements are respected.

Serbia offers another compelling example, where the infrastructure hosting Thornet’s servers operates within a network powered by 100% green-certified renewable electricity, showing that the growth of digital infrastructure does not have to come at the expense of a lower-carbon energy transition.

Water is part of the equation

Electricity is usually the first resource discussed in relation to data centres, but water can be equally important in some locations. Cooling systems may use water to transfer or remove heat. Evaporative cooling can be efficient from an electricity perspective, but it may consume more water. Closed-loop systems can reduce water use, although they may require different equipment, higher capital investment, or additional electricity.

The right solution depends on the local climate, facility design, workload, and availability of water. This makes location particularly important.

A data centre may be located in a region with abundant low-carbon electricity but limited water resources. Another may have access to plentiful water but rely on a more carbon-intensive electricity mix. A third may have a naturally cool climate that reduces cooling demand but lacks sufficient grid capacity or network connectivity.

There is no single sustainability measure that resolves these trade-offs. A responsible infrastructure strategy therefore needs to consider electricity, water, land, construction materials, local ecosystems, and the wider energy system together.

This is where ESG becomes more than a reporting exercise. The environmental characteristics of a data centre are increasingly determined by decisions made before the first server is installed.

Efficiency changes the equation

There is another side to the story that is sometimes lost in the debate about AI and energy. Technology becomes more efficient.

Ericsson’s research into ICT energy consumption illustrates the point. Between 2007 and 2023, global data traffic increased by roughly 80 times, while electricity consumption in the use phase of the ICT sector increased by approximately 1.4 times. The relationship between more data and proportionally more electricity is therefore much more complicated than it may initially appear.

Efficiency improvements occur at several levels.

Processors can perform more calculations using less electricity. Servers can be configured more effectively. Storage systems can use lower-power media for less frequently accessed data. Cooling systems can respond more precisely to actual demand. Software can reduce unnecessary processing. Workloads can be scheduled across locations according to availability, cost, or carbon intensity.

AI is nevertheless creating a new challenge because it is pushing computing into much more intensive territory. The most powerful AI processors require considerably more electricity than conventional servers, and the number of such processors being deployed is increasing rapidly. At the same time, advances in chips, software, and model design are improving the amount of useful computing that can be achieved for each unit of energy. The same principle applies to non-AI workloads.

Cloud platforms can consolidate many smaller systems into more efficient shared infrastructure. Virtualisation can allow one physical server to support several applications. Automated management can reduce idle capacity. Better storage policies can prevent unnecessary duplication. Modern facilities can use more efficient power distribution and cooling systems than older server rooms.

Efficiency does not automatically reduce total consumption. If lower costs encourage more usage, overall demand may still rise. This is one reason why efficiency and growth need to be considered together.

The IEA expects electricity consumption from accelerated servers, largely driven by AI, to grow rapidly through 2030. Efficiency improvements nevertheless remain one of the industry’s most important responses because electricity is both an environmental consideration and one of the largest operating costs of a data centre.

The same industry that is increasing demand for computing is therefore under enormous pressure to make every calculation cheaper, faster, and more energy-efficient. That pressure is likely to remain one of the strongest drivers of innovation in AI hardware, software, cooling, storage, and data-centre operations.

The grid is becoming part of the data-centre conversation

The rapid development of data centres also exposes another constraint: electricity infrastructure does not move at the same speed as technology. A new data centre can be designed and constructed in a matter of years. Power-generation projects, transmission infrastructure, and grid connections often require much longer planning cycles.

The IEA identifies grid connections and infrastructure as major potential bottlenecks to data-centre expansion. In some regions, the challenge is no longer simply whether there is sufficient computing demand, but whether enough electricity infrastructure is available at the right location and at the right time. This makes energy strategy increasingly relevant to technology strategy.

Companies considering where their digital infrastructure should operate need to think about much more than latency and price. Power availability, grid stability, renewable generation, cooling conditions, connectivity, resilience, and regulatory conditions are all becoming part of the same decision.

Data centres can also affect the grid in different ways depending on their operating patterns.

Some workloads are relatively flexible and can be scheduled at different times or moved between locations. Others, such as real-time transactions, telecommunications, and critical business systems, require continuous availability and cannot easily be interrupted. This creates opportunities for more intelligent energy management while making it equally important to distinguish between flexible computing and workloads that must remain permanently available.

The result is a much closer relationship between digital infrastructure and the energy system that supports it.

From consumption to circularity

The most interesting developments are therefore not necessarily the ones that promise to make data centres invisible. They are the ones that make them more integrated. A data centre can be connected to a district-heating system, provide heat to a greenhouse, support aquaculture, operate alongside renewable generation and energy storage, or use cooling systems designed around local climate conditions and water availability.

The physical equipment can also become part of a circular system. Servers, processors, memory, storage devices, and networking equipment have finite operating lives, but that does not necessarily mean their useful life ends when they leave one data centre. Refurbishment, component recovery, reuse, and recycling can retain value and reduce the need for new raw materials.

Microsoft’s recent sustainability reporting describes a growing network of Circular Centers dedicated to processing retired data-centre equipment, with components being reused or recycled rather than automatically treated as waste.

This is another part of the same story.

Sustainable infrastructure is not only about electricity. It is also about what happens to the physical infrastructure once its first useful life is over. The broader objective is to keep energy, materials, and equipment useful for as long as possible.

The business case is becoming stronger

There is also a commercial reason for taking this seriously. Energy efficiency lowers operating costs. Reliable power reduces operational risk. Efficient cooling can reduce both energy consumption and infrastructure requirements. Water-efficient systems can reduce exposure to local resource constraints. Heat recovery can create an additional source of value or reduce the cost of heating nearby buildings and industrial processes.

Access to renewable electricity can support corporate emissions objectives, while good infrastructure planning can reduce exposure to future energy-price volatility and grid constraints. Modern, efficient facilities can also provide better performance, security, and resilience than fragmented legacy infrastructure. The environmental and commercial interests therefore increasingly overlap.

What improves efficiency can improve margins. What improves resilience can reduce risk. What reduces waste can create value. What strengthens a local energy system can improve the economic case for infrastructure development. Responsible infrastructure does not necessarily require businesses to choose between growth and sustainability. Good engineering can sometimes make both possible.

The next data centre may be part of something much bigger

The first generation of data centres was largely designed around one primary objective: keeping computing available. The next generation is increasingly being designed around relationships with the electricity grid, renewable energy, heating networks, water systems, nearby industries, telecommunications infrastructure, and local communities. This is particularly relevant as AI continues to expand.

The scale of new facilities is changing rapidly, with the largest AI-oriented developments moving from conventional data-centre footprints towards campuses capable of supporting hundreds of megawatts and, in some cases, ambitions approaching gigawatt scale. But the same infrastructure race is also being shaped by cloud adoption, digital services, storage, telecommunications, enterprise systems, and the growing need for resilient computing capacity. That scale makes intelligent infrastructure planning unavoidable.

The larger the facility, the harder it becomes to treat its environmental impact as an isolated technical issue. It becomes part of the local economy, the local energy system, and, potentially, the local environmental equation.

The infrastructure around technology can do the same

AI will consume more electricity. Data centres will continue to grow. The world will need more computing capacity, more networks, more storage, and more sophisticated digital infrastructure. The direction of that growth, however, is not predetermined.

There is a significant difference between a data centre that consumes electricity and releases its excess heat into the surrounding environment and a data centre designed from the beginning to become part of a heating network. There is a difference between two industrial facilities operating independently and two facilities sharing energy and water because their processes complement one another. There is a difference between choosing a location solely because it has available land and choosing it because electricity, connectivity, climate, and surrounding infrastructure make a more sustainable system possible.

The examples already emerging around Europe show that this is more than an interesting idea.

Stockholm is recovering data-centre heat for its district-heating network. Helsinki is using heat from computing to help warm homes and offices. Denmark is integrating surplus heat from data centres into local heating systems. Espoo is developing infrastructure in which recovered heat could eventually serve around 100.000 homes. In Rjukan, excess heat from computing is helping produce trout.

These are operating projects, infrastructure investments, and partnerships between technology companies, energy providers, municipalities, and other industries. They demonstrate that the environmental footprint of digital infrastructure is not determined solely by how much electricity a data centre consumes. It is also determined by what surrounds it, how the infrastructure is designed, and what happens to the resources it produces.

This leads to a more interesting way of looking at sustainable technology.

The objective does not always have to be making an individual system consume as little as possible. Sometimes the greater opportunity is to connect systems intelligently enough that the output of one becomes the input of another. A data centre needs electricity and produces heat. A city needs heating. A greenhouse needs warmth. An aquaculture facility needs controlled temperatures. An electricity system needs flexibility. A business needs reliable computing. None of these systems was necessarily created to serve the others. Yet, when they are planned together, their requirements can begin to complement one another.

This is where technology and sustainability stop looking like opposing forces.

The data centre does not have to become invisible. The AI does not have to stop developing. Digital infrastructure does not have to disappear from the physical world. Instead, the infrastructure around it can become more intelligent. The most responsible data centre will not necessarily be the one that consumes the least. It may be the one that makes the most of what it consumes, keeps resources useful for longer, and creates value beyond the computing tasks performed inside its walls. That idea extends far beyond data centres.

The next generation of sustainable technology may not be defined by making every individual system perfect. It may be defined by connecting imperfect systems intelligently enough that less is wasted and more is shared.

Less isolation. More integration.
Less waste. More exchange.
Less thinking in individual facilities. More thinking in ecosystems.

The remarkable part is that this is not a vision waiting somewhere in the future. Sweden is already doing it. Finland, Denmark, and Norway are already doing it as well. The technology exists. The infrastructure is being built. The examples are already operating. The next opportunity lies in discovering what else can be connected to it. AI may be changing the data centre. The more important change may be happening around it.

And perhaps that is where the next chapter of responsible technology will be written.

SOURCES AND FURTHER READINGS:
The article draws on publicly available research, industry analysis, and company information published up to June 2026.

1. International Energy Agency (IEA) – Energy and AI, 2025-2026.
2. International Energy Agency (IEA) – Opportunities for district heating in the changing energy landscape.
3. International Energy Agency (IEA) – Renewables in District Energy, June 2026.
4. McKinsey Global Institute – Colocation data centers: The infrastructure race behind AI, June 2026.
5. Ericsson – ICT energy evolution: Telecom, data centers, and AI, 2025.
6. Telia Business – Helsinki Data Center and heat recovery.
7. Stockholm Exergi – Open District Heating and data-centre heat recovery.
8. Microsoft – Data-centre heat recovery and sustainable infrastructure projects in Finland and Denmark.
9. Meta – Odense Data Centre and district-heating integration.
10. Green Mountain – Heat reuse and the Rjukan data-centre / aquaculture project.
11. Hima Seafood – Rjukan aquaculture and heat-reuse collaboration.
12. RINA / Horizon Europe – THUNDER project on data-centre waste heat, thermal storage and urban heating.
13. Ministry of Economic Affairs and Employment of Finland – Data centres and the developing energy system and economy, May 2026.
14. Microsoft – Environmental Sustainability reporting and circular data-centre hardware initiatives.
15. Foster + Svensson / Thornet – Digital infrastructure, connectivity, data-centre and IT services.

IMAGES DISCLAIMER:
All images in this article are AI-generated by Foster + Svensson and Thornet. The images are illustrative representations and do not depict actual facilities, locations, people or events. Their purpose is to visually illustrate the technologies, environments and concepts discussed in the article.

ABOUT FOSTER + SVENSSON

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Foster + Svensson and Maja Knežević: Expanding strategic perspective

F + S — Thu, 20 Aug 2026 07:23:13 +0000

Belgrade, Serbia — The Foster + Svensson and Maja Knežević, Brand Strategist, are pleased to further strengthen its strategic capabilities and enhance its expertise across brand strategy, brand development, and related areas of strategic marketing.

The addition of Maja’s experience comes at an important stage in the continued evolution of Foster + Svensson. Following the integration of Thornet and the company’s ongoing expansion at the intersection of branding, marketing, digital, technology, data, and innovation, Foster + Svensson continues to broaden the depth and scope of expertise it brings to its clients.

For Maja, this represents an opportunity to bring more than two decades of experience across brands, markets, and organizations into an environment where strategic, creative, digital, and technological disciplines increasingly converge. For Foster + Svensson, her experience brings an enhanced strategic dimension to the company’s ability to connect brand thinking with the realities of markets, businesses, and organizations.

PHOTO: Maja Knežević, Brand Strategist.

Together, these developments reflect an expansion and strengthening of Foster + Svensson’s strategic territory, creating a broader space in which strategic thinking, brand expertise, creativity, technology, and market understanding can work together.

With more than two decades of experience across marketing, brand development, communications, and strategic leadership, Maja Knežević brings extensive first-hand experience from within some of the world’s most recognized and competitive brands. Her career includes senior and leadership roles with HONOR, Huawei, Samsung, and Nokia, alongside earlier experience with FIAT and Saatchi & Saatchi.

Yet the significance of that experience lies less in the names of the organizations themselves than in what working within them has shaped: an understanding of how brands are built, managed, transformed, and sustained in real markets. Maja has spent her career working at the point where strategy meets implementation – where positioning needs to become meaningful to customers, where global brand direction need to work within local market realities, and where marketing decisions ultimately must contribute to wider business objectives.

This client-side perspective brings particular value to strategic brand work, while Foster + Svensson’s multidisciplinary environment provides a natural context in which that experience can be connected with strategic, creative, digital, and technological expertise.

The role of brand strategy today extends well beyond defining a positioning or articulating a proposition. Strong strategy needs to provide clarity for organizations, create alignment across stakeholders, inform decisions, and establish a foundation from which brands can evolve with confidence. It must also remain connected to the commercial, cultural, technological, and competitive forces shaping the market around it.

PHOTO: Maja Knežević, Brand Strategist.

Maja’s experience adds depth to this approach, shaped by having worked through these challenges from within organizations themselves. Her career has included the development and management of brands across different markets, categories, and stages of growth, with responsibilities spanning brand communications, marketing strategy, digital marketing, e-commerce, market development, and regional leadership. Most recently, Maja served as Marketing Director at HONOR, with responsibility for Austria, Croatia, Serbia, and Slovenia.

This breadth of experience complements Foster + Svensson’s existing capabilities, while providing Maja with an environment in which her strategic perspective can contribute to a broader range of disciplines, challenges, and client contexts. The result is not simply an expansion of a particular service. It is an enhanced strategic dimension to the way Foster + Svensson approaches the relationship between brand, business, market, and execution, and to the way Maja can apply her experience within a broader multidisciplinary perspective. It also reinforces an important principle: strategy creates the greatest value when it can move confidently from thinking to action.

Foster + Svensson’s recent integration of Thornet reflects this same direction. By bringing technology, data, and digital infrastructure into closer connection with its existing capabilities, the company has further expanded the ways in which it can support organizations as they navigate an increasingly complex environment.

Maja’s experience contributes to this evolution from the strategic and market perspective, strengthening the connection between what organizations are, what they want to become, and how their brands can support that ambition.

PHOTO: Maja Knežević, Brand Strategist.

There is also a deeper continuity behind Maja’s involvement with Foster + Svensson.

Having known and worked with Maja for more than 20 years, the company has had the opportunity to see first-hand the value of the experience she has accumulated across numerous markets, organizations, and industries. Her career represents the kind of professional perspective that is built over time: through decisions made, brands developed, markets entered, challenges addressed, and experience gained across different cultures and business environments.

At the same time, Foster + Svensson is built around the combination of disciplines, expertise, and perspectives, creating an environment in which experience can be shared, challenged, and translated into new forms of value. It is this mutual exchange that makes the collaboration particularly relevant. Maja brings an established strategic perspective shaped by market experience, while Foster + Svensson brings a multidisciplinary environment in which that perspective can contribute to broader strategic, creative, and business challenges.

Maja also brings a wide professional perspective through her involvement in the marketing industry, including her work as a member of the Effie Serbia and IAA juries. Her contribution will further strengthen work across brand strategy, strategic positioning, brand development, marketing strategy, and related strategic services, while enriching the connection between strategic thinking, creative expression, market understanding, and business performance.

The objective is not simply to create more strategic work, but to create stronger strategic thinking – thinking that is informed by experience, grounded in market reality, and capable of helping organizations make better decisions. Maja Knežević brings precisely that perspective.

Together, Maja Knežević and Foster + Svensson bring first-class experience, senior capabilities, and perspectives into a shared strategic territory, strengthening the company’s ability to connect people, expertise, and disciplines in ways that create stronger brands, more meaningful experiences, and sustainable business value for clients.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and marketing company with heritage back in 1746 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, company provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Company approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Raiffeisen Bank, Banca Intesa, Addiko Bank, AikBank, Visa, Mastercard, Ericsson, Nokia, Telenor Group, Apple, Vodafone Group, A1 Telekom Austria Group, T-Mobile, CNN, RTS, Ringier Axel Springer, Samsung, Cheil, McCann Worldgroup, MullenLowe Group, Grey Worldwide, Carat, Dentsu Aegis Network, WPP, Publicis Groupe, Leo, Saatchi & Saatchi, Huawei, HONOR, Hisense, Gorenje, Asko, Ahold Delhaize, Maxi, Nestlé, Procter & Gamble, AstraZeneca, Richter Gedeon, URSAPHARM, Takeda, Inditex, Zara, BMW Group, Renault Group, FIAT, Knight Frank. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Apothecary earns international recognition from LUXlife for the second consecutive year

F + S — Mon, 03 Aug 2026 06:37:04 +0000

United Kingdom — Apothecary, Serbia’s luxury online beauty destination, has been recognised by LUXlife Magazine for the second consecutive year, receiving the Health, Beauty & Wellness Luxury Excellence Award 2026 – Serbia as part of the LUXlife Parent & Baby Awards 2026.

The recognition celebrates businesses that demonstrate outstanding quality, customer experience and long-term commitment to improving wellbeing through their products and services. For Apothecary, it represents another significant milestone in a journey defined by strategic thinking, careful curation and continuous refinement.

While individual awards recognise achievement at a particular moment in time, consecutive international recognition reflects something more enduring: the ability to consistently maintain high standards across every aspect of a business. It is a testament to disciplined execution, customer trust and a clear long-term vision principles that have shaped Apothecary since its inception.

Following its first LUXlife award in 2025, Apothecary once again joins this year’s international winners, reinforcing the strength of a brand whose development has been guided by consistency rather than short-term success. The award demonstrates that sustained investment in quality, experience and operational excellence continues to resonate well beyond the Serbian market.

The Health, Beauty & Wellness Luxury Excellence Award 2026 – Serbia is presented within the LUXlife Parent & Baby Awards, an international programme recognising organisations whose products, services and business practices contribute to healthier, safer and better everyday living.

Photo: The LUXlife Magazine Health, Beauty & Wellnes – Parent and Baby Award 2026 for the Apothecary.

For Apothecary, the award validates a business built around a carefully curated assortment, trusted partnerships, secure digital commerce and a customer experience designed to evolve continuously. Since launch, the platform has brought together premium beauty, dermocosmetics, wellness, healthcare and lifestyle products within a thoughtfully designed retail ecosystem where quality, trust and long-term customer relationships remain the guiding principles.

The recognition also marks another milestone for Foster + Svensson, the independent branding and design agency behind Apothecary. Rather than approaching the project as the creation of a visual identity alone, the agency developed the brand as an integrated business proposition, from the initial idea and commercial opportunity to business strategy, positioning, customer experience, naming architecture, business design, visual identity, packaging principles, digital experience and long-term brand governance.

Conceived as a business-first brand, Apothecary demonstrates how strategic design extends far beyond aesthetics. It illustrates how design can shape business models, define customer value, build trust and create meaningful competitive advantage. The continued international recognition received by the brand reflects not only operational excellence but also the enduring value of building brands through strategy, clarity and consistency.

This latest distinction adds to a growing portfolio of international and national recognitions across branding, design, digital communications and e-commerce, further reinforcing the belief that sustained investment in quality is recognised across multiple disciplines and by audiences well beyond the market in which a brand originates.

For Foster + Svensson, the project continues to demonstrate the role of branding as a strategic business discipline, one capable of transforming an idea into a distinctive market proposition and supporting its long-term growth through coherent design, purposeful communication and consistent customer experience.

We extend our sincere thanks to everyone who has contributed to Apothecary’s journey, its customers, partners and collaborators. Their continued trust has been instrumental in the brand’s development and remains the strongest motivation to continue raising the standards of premium online retail.

About LUXlife Magazine

LUXlife Magazine is a United Kingdom-based international publication covering luxury lifestyle, travel, health, beauty, wellness, design and premium products and services. As part of AI Global Media, LUXlife has, since 2015, recognised brands, businesses and professionals that set new benchmarks across the global luxury industry.

The LUXlife Parent & Baby Awards celebrate organisations whose products, services and innovations contribute to improving health, wellbeing and quality of life. Winners are selected through an independent evaluation process considering product and service quality, innovation, business excellence, customer satisfaction and wider industry impact.

Today, LUXlife’s international awards are recognised as a respected benchmark of excellence within the health, beauty, wellness and luxury sectors, acknowledging organisations whose commitment to quality and innovation delivers lasting value for customers and the industries they serve.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1746 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Raiffeisen Bank, Banca Intesa, Addiko Bank, AikBank, Visa, Mastercard, Ericsson, Nokia, Telenor Group, Apple, Vodafone Group, A1 Telekom Austria Group, T-Mobile, CNN, RTS, Ringier Axel Springer, Samsung, Cheil, Huawei, Hisense, Gorenje, Asko, Ahold Delhaize, Nestlé, Procter & Gamble, AstraZeneca, Richter Gedeon, Ursapharm, Inditex, Zara, BMW Group, Renault Group, Knight Frank. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

World Brand Design Society selects Apothecary brand design refresh as a Featured Project

F + S — Tue, 14 Jul 2026 11:04:25 +0000

London, United Kingdom — The Apothecary brand design refresh and visual identity system has been selected as a Featured Project by the World Brand Design Society (WBDS), with the project editorially featured on the platform’s homepage.

This editorial recognition represents another international acknowledgement of the project, placing it alongside work from internationally recognised design studios and independent practitioners. The featured selection highlights projects distinguished by strategic clarity, distinctive visual and thinking and consistently high standards of execution across the discipline of brand design.

The Apothecary identity refresh was conceived as a complete brand system rather than a visual update alone. The work established a refined visual language built around clarity, consistency and long-term flexibility, enabling the brand to evolve across digital platforms, retail environments, packaging and future product development while preserving a coherent identity.

The project demonstrates how a contemporary pharmacy and beauty retailer can communicate confidence through restraint, using precision instead of decoration and systems instead of individual graphic gestures. Every element, from typography and colour to layout principles and brand architecture, was designed to work together as part of a scalable identity capable of supporting future growth.

Rather than pursuing change for its own sake, the project focused on strengthening recognition, improving consistency and establishing a design framework capable of supporting the brand over time.

Photo: Apothecary Brand Design Refresh.

The World Brand Design Society (WBDS) is an international professional community dedicated to corporate and consumer brand design. Through editorial publications, international awards, rankings and industry initiatives, WBDS benchmarks creative excellence across brand identity, packaging and corporate design. Its platform has become an established reference for contemporary brand identity, packaging and design systems, bringing together work from leading brands, organisations, agencies and independent designers from around the world.

The WBDS feature follows the recent announcement that the Apothecary Brand Design Refresh received two nominations at the Creativepool Annual Awards 2026 in the United Kingdom, recognising the project in the categories of Brand Design Refresh and Next Gen Leader 2026 through the nomination of Foster + Svensson Group Managing Director Vladimir von Bergdorff.

Together, these independent recognitions place the Apothecary Brand Design Refresh among the projects receiving continued international editorial and industry attention throughout 2026.

Find out more about the project on “Apothecary brand refresh” page.

ABOUT FOSTER + SVENSSON

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Creativepool Annual Awards 2026 recognise Vladimir von Bergdorff in two categories

F + S — Fri, 03 Jul 2026 09:04:25 +0000

London, United Kingdom — Mag. Vladimir von Bergdorff, MA, Group Managing Director of Foster + Svensson, has been nominated in two categories at the Creativepool Annual Awards 2026, one of the world’s leading international platforms celebrating excellence across the creative industries.

The nominations recognise Vladimir von Bergdorff in the Next Gen Leader 2026 category and for Brand Design Refresh for the Apothecary, acknowledging both individual leadership and creative achievement.

As one of the world’s most influential creative professional networks, Creativepool brings together leading talent, agencies, brands, and organisations from across the global creative economy. Its Annual Awards celebrate excellence across branding, design, advertising, digital communications, and creative leadership, recognising work that contributes to the continued evolution of the creative industries on an international scale.

This year’s nominations place Vladimir von Bergdorff alongside talented professionals from globally recognized brands and agencies, including The Coca-Cola Company, Huge, and BBDO.

The Brand Design Refresh for the Apothecary has likewise been nominated among work from outstanding brands and organizations such as Tadao Ando – Dubai Museum of Art, Mercedes, Audi, Volvo, Nike, Adidas, Carlsberg, Hendrick’s Gin, PepsiCo, Pernod Ricard, Absolut, Aperol, Alpro, Tiffany & Co., Ericsson, Deutsche Telekom, W Hotels, Lloyds Banking Group, Amazon, Sky, BBC, Wired, Google, McCann Worldgroup, Dentsu, Publicis Groupe, Leo, VML, Ogilvy, Cheil, Bruketa&, Interbrand, and many more.

Photo: Apothecary Brand Design Refresh.

Together, the nominations recognise both leadership and brand design excellence, reflecting a body of work shaped by strategic thinking, creative discipline, and a commitment to building brands of lasting value. They also reflect the continued international recognition of work developed through Foster + Svensson, where marketing, branding, and design are understood not as isolated creative services, but as interconnected disciplines that help organisations create meaningful and enduring relationships with the people they serve.

While every project presents its own challenges, the principles behind the work remain consistent: understanding people before markets, defining strategy before execution, and creating brands that are designed not only to communicate, but to endure. International recognition is therefore valued not as an objective in itself, but as an affirmation that this long-term approach continues to resonate within the global creative community.

“Recognition is never the destination of creative work. Its real value lies in the trust it builds, the relationships it strengthens, and the lasting impact it creates for clients and the people they serve. Recognition such as this is especially meaningful because it comes from an international community of creative professionals whose standards continue to shape the creative industries worldwide. To be nominated in both the Next Gen Leader category and for Brand Design Refresh for the Apothecary is an honor that I sincerely appreciate. More than anything, these nominations reflect the dedication of the people, partners, and clients who have contributed to this journey. I am grateful to Creativepool for this recognition and to everyone who continues to believe in the value of thoughtful, strategically driven creativity,” said Mag. Vladimir von Bergdorff, MA, Group Managing Director of Foster + Svensson.

The nominations reflect Foster + Svensson’s continued international recognition and reaffirm the agency’s long-term commitment to strategic marketing, branding, and design. They also reinforce a belief that has shaped the agency since its foundation: that enduring brands are created through clarity of purpose, disciplined thinking, and meaningful collaboration. In a creative landscape defined by constant change, this philosophy continues to guide the agency’s work while contributing to an ongoing international dialogue about the future of branding.

The winners of the Creativepool Annual Awards 2026 will be announced in September.

ABOUT FOSTER + SVENSSON

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Foster + Svensson acquires one more artwork by Academician Ljubica Cuca Sokić – “The Figure”

F + S — Tue, 21 Apr 2026 06:55:24 +0000

Ljubica Cuca Sokić, a distinguished Serbian and Yugoslav painter of the 20th century, remains a defining figure in the region’s modern art history. Born in Bitola, she completed her education in Belgrade, where she studied under prominent artists and professors who shaped her early artistic development. Her career was further enriched by time spent in Paris, where she exhibited her works and absorbed the influences of the European art scene.

Throughout her artistic evolution, Sokić developed a visual language marked by restraint, clarity, and intimacy. While her earlier works explored still lifes, interiors, and human figures, her later practice moved toward reduction and essential form. This progression resulted in compositions that convey quiet tension and refined balance, where line and structure assume a central role.

The artwork “The Figure”, executed in drawing ink on paper, exemplifies this mature phase of her practice. Through a disciplined economy of means, the composition reveals the artist’s sensitivity to form, presence, and gesture. The medium itself underscores immediacy and precision, allowing the essence of the subject to emerge through deliberate, controlled expression.

Foster + Svensson is pleased to announce the acquisition of this original work, further strengthening its Private Art Collection with a piece that reflects both historical significance and artistic clarity. This acquisition builds upon the company’s continued engagement with the legacy of Academician Ljubica Cuca Sokić, following a previous inclusion of her work in the collection.

The presence of original artworks within the Foster + Svensson environment enables a direct encounter with artistic thought and process. Such proximity encourages deeper understanding of visual language, material exploration, and conceptual development – elements that resonate with the company’s own approach to creativity, strategy, and design.

Photo: The Figure, Ljubica Cuca Sokić.

The Foster + Svensson Private Art Collection is shaped through a deliberate and ongoing process of acquisition, guided by curatorial principles and expert insight. It brings together works of enduring cultural value, spanning historical legacy and contemporary expression. Each addition contributes to a broader narrative in which artistic excellence and intellectual inquiry are placed in continuous dialogue.

The Art Preservation program reflects the company’s belief that art holds lasting cultural and intellectual relevance. Each acquisition is considered not only for its aesthetic qualities, but also for its capacity to inform, inspire, and expand understanding. “The Figure” is a work of subtle strength, demonstrating how reduced form can convey profound presence.

Through its Private Art Collection, Foster + Svensson affirms a long-standing commitment to cultural engagement and artistic appreciation. The collection serves as a space where ideas, disciplines, and perspectives intersect, reinforcing the role of art as both a source of inspiration and a framework for critical thought. In this context, each artwork becomes part of an evolving dialogue, one that continues to inform the company’s vision and its contribution to the broader cultural landscape.

ABOUT FOSTER + SVENSSON

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.