#faviken

[99colours]

[theangrymunchkin]

Apparently I've got a thing for Swedes now... This is Magnus Nilsson, Head Chef of Faviken in Sweden. I'm watching the the episode of Chef's Table about him on Netflix right now.

[605mod]

Let the count down begin!! #fäviken #faviken #favikenmagasinet #magnus #dinnerofalifetime #michelin #top50 (at Fäviken Magasinet) https://www.instagram.com/p/Bq9RKPkneLx/?utm_source=ig_tumblr_share&igshid=1143ol4tft7jz

[ueatwithyoureyes]

Fäviken

[mediahub-uk]

Fäviken

[monamoments]

#sweden #faviken #foodporn #foodie #michelinstar #foodporn #fun #unique #eggs follow my blog and see we're to stay we're to eat

[davidegrimes]

I do not have the vocabulary to describe the level of pretension. #faviken

[99colours]

[kinglouisiii]

New is not always better, as with almost anything. But what’s interesting with food culture, and also a little bit scary, is that the second you stop practicing, it tends to die out really quickly. After one generation, you will have no one left who knows how to do something with their hand. And after three generations, the only thing that’s left is the photos or something like that. And you can’t go back and understand how someone did something 1,000 years ago with food like you can with sculpture or painting or whatever it might be. You can actually look at a marble block carved in ancient Greece, and you can see how it was done. But there aren’t any cured hams from ancient Greece that are still there to show us how that was done. It makes food culture very special, because it is also the most important cultural manifestation that we have, ‘cause we all have to eat.

Magnus Nilsson, Chef’s Table S1E06

Chef’s Table is a programme that fascinates, because it reminds the viewer of the incredibly human desire for food. As Nilsson puts so simply, it is consumed by the body, multiple times daily, day in and day out; routine. What does this say about when we make food become art? Is it consumable - and therefore simply just a part of enriched living, of momentary enjoyment, satiation of the physical needs that happens to begin with a visually pleasing aesthetic? Or does the core primacy of man, the act of eating, that routine that sits at the carnal epicentre of our aliveness, affirm the place of food in our individual cultural tapestries of ‘connecting with art’? Food interacts with human sensory engagement on a wholly different level to visual and auditory art. To chew is to fuel, to complete the ritual of self sustainment, to fulfil the part that humankind plays in the cycle and the continual progression of regeneration. Soil into plants; into animal and into man. Ingredients exist in static across generations, to be used and reused and remade by the humans that engage with their native landscape. 

As the film Ratatouille reminds us, just as the eye can recognise an evocation of childhood or past experience in an image, or the ear can associate music with a moment, so the tongue can remember taste. From salt licked off chapped lips in a warm memory of a seaside child’s summer, to a recurring breakfast ritual of poached eggs and avocados smashed into toast, eaten standing in a student kitchen, partaken by two people unknowingly existing in the early stages of love. Food grounds moments of transcendence in our lives, and reminds us that whilst these moments were sacred art, they were also living and breathing. This is perhaps why Haruki Murakami’s work strikes me and so many others; that the fantastical and spiritual experiences which befall his characters are intertwined with their need to stop and eat, to feel hunger and seek out its satisfaction. We see unfolding before us on the page the moments where food becomes synonymous with emotion, like Norwegian Wood’s cucumbers and mayonnaise, eaten alongside someone hanging on to the brink of life. Why cucumbers? Because hunger. Because a need for freshness and lightness, an easy meal. Food signifies balance, reminds us that we create and consume only because primally our body’s natural rhythm of sustenance is just that - create, consume. It is at the core of what we are. Food is about feeling. It is a signifier for us that we are here, now, humans partaking in living. And so we go on building our own histories, constructing each meal, creating, surviving, enjoying in symbiosis. Our life is art.

[lund-hansen]

Magnus Nilsson - Åre, Sweden. 

[kylietanie1-blog]

The restaurants with the world's best views revealed

The restaurants with the world's best views revealed

[ad_1]

The criterion that goes into creating a list of the world’s best restaurants often centres around the food, the service and the ambience – rarely is the environment outside ever considered.

But there are restaurants around the world, often in remote and isolated locations, where the unforgettable experience is as much about the view from the windows as it is about what you’re eating.

And…

[ueatwithyoureyes]

Fäviken

[yahootravelhk]

【最荒蕪米芝蓮】瑞典米芝蓮餐廳太好生意！大廚宣布結業

奪得米芝蓮，是餐廳質素被肯定的證明，不少廚師都會以此為目標，而且很多餐廳都因為摘星之後，一躍成為世界著名餐廳；不過總有好多廚師係與別不同，例如位於瑞典斯得哥爾摩以北600公里Are嘅「Faviken」，就由米芝蓮二星大廚Magnus Nilsson開辦，多年嚟都屬於瑞典最高排名餐廳，雖然位處冰天雪地、人跡罕至嘅地方，但都因為出色嘅廚藝成為人氣不衰嘅餐廳。餐廳每次只接待24位客人，而且並需提前一季預約，每位消費約3300瑞典克朗(約2700港元)，而餐廳更設有6個房間，享受美食後，客人更可留宿一晚，住宿需付2500瑞典克朗（約2200港元）！ 

但近日Magnus就竟然宣佈餐廳開至今年12月14日就會關門，而原因就係「太累了，要多點時間陪家人」，仲話自己身理同心理上都唔健康，希望可以休息。果然消息一出，餐廳火速被訂至年尾都爆滿，即係想食嘅朋友，可能唔知要等到某年某月Magnus休息夠後先有機會喇。

主廚Magnus Nilsson在IG宣布，決定在今年12月14日結束營業！

Source：Magnus Nilsson@IG

 Magnus Nilsson係著名二星名廚，廚藝高超。

 Faviken以高質天然材料及特色素材為主打。

 Faviken被稱為世上最荒蕪嘅米芝蓮餐廳。

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【立即讚好】全新 Yahoo 旅遊 Facebook 專頁

Yahoo 旅遊以全新樣貌登場，Facebook 專頁當然同時煥然一新！立即讚好，每日睇盡旅遊新資訊！

[cobradimond]

Got the heads up from @edimond that there was a special guest chef @magnusfaviken from @faviken @sqirlla and we had this delicious Santa Barbara Uni tongue with Uni butter and egg “Old Lady” Swedish Rågkaka sandwich (I’m learning new things here) and delicious cookies and a Swedish cinnamon roll. It was a little stressful with the baby and the dog because @sqirlla is way too big for their britches and their line was even longer than usual but @alicefountain made it happen so I’m thankful for that!! (at Sqirl) https://www.instagram.com/p/BqOIjKinkpN/?utm_source=ig_tumblr_share&igshid=eyegkoj6owm3

[monamoments]

What's it like to eat #3michelinstars restaurant #faviken #sweden#foodporn #foodie #yummy https://mona-moments.com/category/travel/sweden/

[kokomeong]

Ugly Delicious

Ugly Delicious adalah perwujudan visual dari Lucky Peach dan muncul tepat saat majalah itu menerbitkan edisi terakhirnya. Ilustrasi-ilustrasinya sama persis. Desainnya serupa. Gagasan yang dibawa identik. David Chang dan Peter Meehan tetap menjadi otak utamanya. Ada Walter Green, ada Jonathan Gold. Ada teman-teman Hollywood seperti Aziz Ansari dan Steven Yeun. Geng Noma. Mereka mendekonstruksi pola berpikir yang cenderung Barat/Amerika-sentris terhadap makanan.

Saya dulu membeli Lucky Peach pertama saya di Periplus Malioboro ketika iseng-iseng browsing di rak majalahnya. Meminjam istilah Joko Anwar, browsing rak demi rak di toko buku adalah sebuah ‘spiritual journey’ yang tak akan pernah bisa digantikan dengan toko buku online. Di Readings’ Carlton, saya pertama mendengar Slowdive ketika membaca Faviken-nya Magnus Nilsson, yang juga pernah diwawancarai Chris Ying di edisi Holiday-nya Lucky Peach dengan latar tulisan putih salju. Tapi artikel tentang Nilsson yang paling membekas adalah resep Apocayplse Chicken-nya di edisi Apocalypse –edisi masterpiece menurut saya. Hampir 50% Lucky Peach yang ada di rak buku sekarang dibeli di Australia: dari Dymocks-nya Adelaide dan sebagian besar beli bekas di ebay –yang kebanyakan penjualnya ada di Melbourne.

Lucky Peach lahir dan mekar pada saat yang sama ketika saya mulai mengenal Kombucha, memotret toko-toko roti kuno di Jogja untuk Warta Jaya, mencatat resep-resep masakan dari ibu saya di notebook untuk dipraktikkan selama berada di Australia, dan diajak Faisal Bashir mengunjungi Farmers Market di Adelaide Showground untuk belanja telur free-range, madu organik, sarapan avocado toast, dan minum kopi berbasis susu oat sambil menonton lomba menggiring domba antar anjing. Saya membaca Lucky Peach sekaligus mengunjungi screening Lucent (Earthlings-nya Australia) yang diawali dengan ritual permainan piano yang legendaris di Goodwood Cinema jam 7 malam di pertengahan musim semi, lalu turun dari tram untuk merekam aksi protes kesejahteraan hewan di Parliament House di akhir musim panas.

Kegiatan memasak mirip dengan konservasi. Semua indera digunakan secara lengkap dan prosesnya taktil. Keduanya juga tidak hanya soal teknik, tapi juga soal rasa, kesadaran (akan sumber, lingkungan, dan kualitas) dan pengalaman. Mengutip Rhoma Irama di Taste Test-nya SFTC, harus “ada touch, ada soul”.

Di Ugly Delicious, dua episode favorit saya adalah BBQ dan Fried Chicken (sayangnya Frank Reese dari Heritage Chickens tak ada disana). Belakangan, saya membaca ulang Eating Animals-nya Jonathan Safran Foer untuk penelitan saya selanjutnya. Foer mengingatkan saya bahwa 99,9 persen ayam di Amerika (dan mungkin sebagian besar di dunia) adalah ayam pedaging hasil rekayasa genetika yang terlalu cepat besar sehingga mereka yang paling mengalami penderitaan (belum terhitung penderitaan dari lingkungan tempat tinggalnya yang artifisial dan buruk). Saya pernah bertanya pada Fidhya, teman saya yang telah hijrah, apakah ayam-ayam broiler ini bisa dikategorikan sebagai salah satu tanda kiamat: munculnya ‘hewan mengerikan’? Apakah memakannya haram? Diskusi kami menjadi intens sebelum mandek dan beralih ke topik lain.

Episode BBQ mungkin punya banyak kutipan esensial seperti, “Tak ada Pitmaster yang bilang ‘this is better’, mereka bilang ‘this is mine’” dari Amelia Gray. Ada juga “Unless you invented fire, you don’t have the right to define what barbeque is.”.

Pertanyaannya, kalau kita bukan yang menemukan sejarah (sejarah sebagai the past bukan sebagai narasi/sastra), apakah kita masih berhak menentukan definisi arsip?