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Guide to New Nordic: Cuisine, Aesthetics, and Place

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New Nordic: Cuisine, Aesthetics, and Place

How to Use This Guide

As you walk through the exhibition, you will encounter a series of four chapters: Landscape, Ingredient, Technique, and Presentation.

Each chapter consists of several stand-alone objects (labelled with a number on the wall or floor) and a wooden shelf.

Finding the Object IDs 🔍

Object IDs are located on the wall or on the floor adjacent to each object, numbered 1 through 32. As you move through each chapter, use the Object ID number and the Table of Contents to find information about the item you are viewing.


Finding the Shelf IDs 🔍

Each section of the exhibit contains a large wooden shelf with a number of cubbies. The top of each shelf is labelled with its corresponding chapter: Landscape, Ingredient, Technique, and Presentation. As you explore each shelf, use the Table of Contents and Shelf ID number (found in the top left corner of each cubby) to learn more about each object.

Exhibition Map

NN exhibition map - final

Table of Contents


Landscape

1    |    2    |    3    |    4

5    |    6    |    7    |    8

9    |    10    |    11    |    12

13    |    14    |    15

Landscape Shelf


Ingredient

16    |    17    |    18    |    19

20    |    21    |    22    |    23

24    |    25

Ingredient Shelf


Technique

26    |    27    |    28    |    29

Technique Shelf


Presentation

Presentation Shelf

30    |    31    |    32   |   33

Chapter 1: The Landscape

It all starts with the landscape. The New Nordic movement draws on both wild and cultivated landscapes, where plants, animals, mushrooms and micro-organisms form part of an integrated closed loop. The seasons create constant variations. The sea, forest, mountains and soil provide the ingredients, materials and inspiration for designs and techniques. The landscape’s resources, biodiversity and cultural history are catalogued through excursions and journeys. In opposition to the placeless global culinary and cultural industry, local idiosyncrasies are cultivated.

Spotlights

  • 1

    Landscape
    Film: Hacienda, 2 min, 26 sec

    Back to Table of Contents

  • 2

    Tableau from the restaurant Koks, Faroe Islands
    The tableaus convey historical moments from three restaurants. They show different materials and aesthetic expressions across time and geography. 

    Jens L. Thomsen (b. 1980)
    Composition and sound design for a permanent music & sound installation for the restaurant Koks (2012)
    Sound design, ink pen on paper. Private collection 

    Claes Bech Poulsen (b. 1962)
    Photographs, restaurant Koks (2010s)
    Digital print. Private collection 

    Work uniform (2010s)
    Design: GuĂ°run & GuĂ°run
    Wool, cotton. The restaurant Koks, Faroe Islands 

    Placemat (2010s)
    Placemat made of tanned fish skin. The restaurant Koks, Faroe Islands 

    GuĂ°riĂ° Poulsen (b. 1961)
    Various pieces of tableware (2010s)
    Thrown and glazed ceramics, wood and glass. The restaurant Koks, Faroe Islands 

    Traditional Faroese knife (2010s)
    The restaurant Koks, Faroe Islands 

    Common limpet (2010s)
    The restaurant Koks, Faroe Islands 

    Oblong wooden dish
    The restaurant Koks, Faroe Island

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  • 3

    Display case: Manifesto

    The Manifesto for a New Nordic Cuisine (2004) was a rebellion against the global food industry, massive imports of food ingredients and a food culture that neglected local values. The manifesto encouraged people to use local seasonal produce, develop food traditions, emphasize animal welfare and strive for aesthetic simplicity. 
       The movement was inspired by nouvelle cuisine and New Basque Cuisine. Nouvelle cuisine arose in the 1960s in France as a protest against hidebound French restaurant cuisine. The ideals included improvisation and interpretations based on the finest produce of local food markets. The New Basque Cuisine emphasised that chefs had to learn regional culinary traditions and explore local ingredients such as wild plants, seaweed and sea urchins. In Norway, Arne Brimi was a pioneer. In the 1980s, he developed “nature’s cuisine” based on gathering, hunting, fishing, local agriculture and cultural history.
       Claus Meyer and Jan Krag Jacobsen wrote the first draft of the Manifesto, which was signed by twelve male chefs from the Nordic countries. Over the years, it has generated heated debate, not just on account of the gender imbalance, but also because many people have considered it elitist, protectionist and homogeneous. Nevertheless, the manifesto was highly influential and served as an inspiration for many regional cuisines all over the world.

    Noma
    Claus Meyer, RenĂŠ Redzepi. Politikens Forlag, 2006

    Frü naturens kjøken
    Arne Brimi. Universitetsforlaget 1991

    Le Nouveau Guide Gault-Millau
    The New Gault-Millau Guide (1975)
    Published by Connaissance des Voyages

    25 aĂąos de la Nueva Cocina Vasca
    25 Years of the New Basque Cuisine (2002)
    Mikel Corcuera. Published by Aizkorri Argitaletxea

    “Towards a Critical Regionalism: Six Points for an Architecture of Resistance”
    Kenneth Frampton. Published in The Anti-Aesthetic: Essays on Postmodern Culture. Bay Press, 1983

    The theory of place Critical regionalism achieved a breakthrough with the architect Kenneth Frampton’s essay “Towards a Critical Regionalism” in 1983. The core of Frampton’s criticism was that global capitalism represented a threat to local cultures. He believed that the construction industry was making all places alike by introducing the same production systems everywhere, and that architecture could counteract this by drawing on local material cultures, light conditions, topographies and landscapes. There are clear parallels with the New Nordic Cuisine movement, which rebelled against the global food industry by basing itself on local produce, growing conditions and cultural traditions.

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  • 4

    Mikael Olsson (b. 1969)
    Oaxen (1997–1998)
    Pigment prints on acid free cotton paper
    From the book Oaxen Skärgürdskrog, Raster 1999
    Galerie Nordenhake

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  • 5

    Kristine Fornes (b. 1971)
    Pine, pine, spruce and spruce (2011)
    Cotton and silk embroidery on linen. Nasjonalmuseet

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  • 6

    Olafur Eliasson (b. 1967)
    The Fault Series (2001)
    C-print. Nasjonalmuseet

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  • 7

    Hans Gude (1825–1903)
    Study of Boulder (Mid-19th century)
    Pencil, pen and wash on paper. Nasjonalmuseet
    Storm in the Highlands (1847)
    Oil on canvas. Nasjonalmuseet

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  • 8

    Carl-Viggo Hølmebakk arkitektkontor
    Carl-Viggo Hølmebakk (b. 1958)
    Anders Holmer (b. 1977)

    Vøringsfossen waterfall tourist route, Eidfjord (2010)

    Stair bridge seen from the south

    Stair bridge and viewpoints seen from the north
    Digital collage. Nasjonalmuseet

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  • 9

    Maaemo’s website (2015)
    Design: Bielke&Yang. Development: VĂŚrsĂĽgod
    Photo and video: Tuukka Koski
    Private collection

    Back to Table of Contents

  • 10

    Johannes Flintoe (1787–1870)
    From Hjølmo farm (1822)
     Pencil, pen and wash on paper

    Summer Farm by Maurset (1822)
     Pencil, pen and wash on paper

    Lodging, Monsbu (1822)
     Pencil, charcoal and wash on paper

    View of Hjelmodalen in Eldfjord, Hardanger (1833)
     Gouache on paper. Nasjonalmuseet

    In the early 19th century, Johannes Flintoe headed into the mountains on a journey of discovery, accompanied by geologists and botanists. Their aim was to illustrate and catalogue the mountain flora and fauna as an expression of a shared Nordic culture. His paintings attracted tourists to the mountains.Nature surveys are part of the New Nordic Cuisine movement. The chef Magnus Nilsson, who also ran the restaurant Fäviken Magasinet, travelled around the Nordic region for several years, cataloguing traditional foods across national boundaries. His photos and recipes were published in the book Nordic Cookbook (2015).

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  • 11

    Hans Gude (1825–1903)
    Spruce Tree (Mid-19th century)
     Pen over pencil on paper. Nasjonalmuseet

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  • 12

    Thomas Fearnley (1802–1842)
    From Vestfjorddalen Valley Towards Gausta (1828)
     Pencil and gouache on paper. Nasjonalmuseet

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  • 13

    Piet Oudolf (b. 1944)
    Noma 2.0 Garden Plan
    2018
    Water color and ink pen on paper, digital print
     Private collection

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  • 14

    Ola Steen Arkitektkontor
    The Nordic House, elevation (1979)
     Ink pen on paper. Nasjonalmuseet

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  • 15

    Jensen & Skodvin Arkitekter
    Juvet Landscape Hotel (2007–2011)
    Model (2025)
     Produced in collaboration with Studio Braak. Various materials

    Display case
    Sketches and thoughts. 2007–2024. Digital print
    Juvet Landscape Hotel captures the variation in the lush landscape above the River Valldøla close to the Gudbrandsjuvet gorge in Sunnmøre. After careful measurements and planning, each hotel room has been placed individually in the landscape, so each one has a unique view. The dark interior prevents reflections, and floor-to-ceiling windows allow the landscape to become a part of the room. Experi encing the scenery is the main attraction, and guests can follow the changes in the light and weather over the course of the day.

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Shelf: Landscape

🔎 Check upper left corner of each cubby for item ID.

NN Shelf Diagram - Landscape

  • Transborder studio and Soyong Lee
    Edible Oslo – 100 edible organisms found in Oslo
    20 drawings of species
    Print on paper, hand drawing on paper
    Map of locations
    Poster. Contribution to the Seoul Biennale of Architecture and Urbanism 2017. Private collection

    Back to Landscape Shelf

  • Tim Koch
    Exterior, Restaurant Under (2022)
    Digital print. Private collection

    Iselinn Andersen
    Interior, Restaurant Under (2022)
    Digital print. Private collection

    Back to Landscape Shelf

  • Snøhetta AS
    Restaurant Under
    Model. 2017–2018. Private collection

    Back to Landscape Shelf

  • Malling & Schmidt
    Ehrhorn Hummerston, 2012

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  • Atelier Oslo
    Common Ground (2009)
    Documentation of exhibition in Gallery Rom, Oslo, 2009. Digital photo. Private collection

    The architecture studio Atelier Oslo fills a gallery space with trees and vegetation from the forest floor in Nordmarka. They recreate a location in the forest and let visitors walk barefoot on the moss. Moss has been a popular motif and material in the so-called New Materialism’s exploration of the relationship between people and nature. Moss grows in barren environments, and it has the ability to grow on, and give life to, dead materials. In New Nordic Cuisine, moss is used both as decor and as an ingredient in broths.

    Back to Landscape Shelf

  • From the botanical encyclopedia
    Flora Danica, Copenhagen 1761
    After drawings by Georg Christian Oeder (1728–1791)

    Morel, Morchella esculenta
    Oyster Leaf, Mertensia maritima
    Marsh Violet, Viola palustris

    1755-1759. Hand-colored line etching on paper.
    Nasjonalmuseet

    In the spirit of the Enlightenment, King Frederik V set about surveying all of the wild and domesticated plants in the dual monarchy of Denmark-Norway. The botanical reference work “Flora Danica” was first published in 1761; it contained over 3,000 illustrations when it was finally completed in the 1880s. The botanist Georg Christian Oeder was the first person to document the plants. The porcelain service of the same name was produced at the Royal Porcelain Factory during the period 1789–1802, and production resumed in 1863 and still continues.

    Back to Landscape Shelf

  • Nordic by Nature. Nordic Cuisine and Culinary Excursions
    Borderless Co. (red). Gestalten, 2018

    Slippurinn: Recipes and Stories from Iceland
    GĂ­sli Matt. Phaidon Press, 2021

    Back to Landscape Shelf

  • Roar Øhlander (b. 1948)
    The Nordic House, Faroe Islands (1983–1990)
    Photograph. Nasjonalmuseet

    The Nordic House, Faroe Islands (Mid-1980s)
    Unidentified photographer. Nasjonalmuseet

    Back to Landscape Shelf

  • Ola Steen Arkitektkontor
    The Nordic House, model (1979)
    Plywood. Nasjonalmuseet

    The Nordic House in TĂłrshavn on the Faroe Islands represents a concept of Nordic identity embodied in construction techniques. The building is integrated into the landscape using materials and techniques from across the Nordic region: floor tiles from Norway, internal cladding made of Swedish timber and local turf on the roof, which is held up by steel struts featuring a traditional dragon-like design. Ola Steen from Norway and KolbrĂşn RagnarsdĂłttir from Iceland won the architectural design competition, and the project was then developed by Ola Steen Arkitektkontor. The project is an example of critical regionalism, where regional elements are used to create architecture grounded in local context, while maintaining a critical stance toward a global, placeless building industry.

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  • Platter
    Forget-me-not, Myfatis scorpiodies
    Design: 1789. Produced: 1789–1802
    Thrown, modeled and glazed porcelain with hand-painted decor and gold rim. Nasjonalmuseet

    Fruit basket
    Fucus corneus
    Design: 1789. Produced: 1906.
    Thrown, modeled and glazed porcelain with hand-painted decor and gold rim. Nasjonalmuseet

    Deep plate
    Crisp-leaved pondweed,
    Potamogeton crispus, Flora Danica
    Design: 1789. Produced: between 1863 and 1892. Thrown and glazed porcelain with hand-painted decor and gold rim. NasjonalmuseetC5 Malling & SchmidtEhrhorn Hummerston, 2012 Fäviken Magnus Nilsson Phaidon Press, 2012

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  • Noma: Time and Place in Nordic Cuisine
    Spread: Roderick Sloan. RenĂŠ Redzepi. Phaidon Press, 2010

    The Nordic Baking Book
    Magnus Nilsson. Phaidon Press, 2015

    Fäviken
    Magnus Nilsson
    Phaidon Press, 2012

    Back to Landscape Shelf

  • Pot with wooden side handle
    German madwort, Asperugo procumbens,
    From: Flora Danica
    Design: 1789. Produced: after 1905. Cast, thrown, modelled and glazed porcelain with hand-painted decor and gold rim. Wood turned mahogany handle. Producer: Den Kongelige Porcelainsfabrik.Nasjonalmuseet

    Dish
    Water-purslane, Peplis portula, Flora Danica (1789)
    Produced: after 1905. Cast and glazed porcelain with hand-painted decor and gold rim. Nasjonalmuseet

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  • Oaxen Adieu
    Magnus Ek, Agneta Green. Modernista, 2011

    Minnesjord
    Christian Norberg-SchulzGyldendal, 1991

    The Latin term genius loci (spirit of the place) was revitalized by the Norwegian architectural theorist Christian Norberg-Schulz (1926–2000). In order to understand how to build in a place, you first had to understand the place, he believed. An objective assessment was not enough; you also had to sense and perceive the place’s qualities with your body – from its smells, lights and sounds, through its plants and minerals in the soil, to the landscape. The thinking behind the New Nordic Cuisine movement is closely related to Norberg-Schulz’s theory of place. How the chef experiences nature and their surroundings here and now should be captured and communicated through the meal. Maaemo’s dish “The forest right now” or Jens L. Thomsen’s sound track for Koks, which recreates the sounds where the produce is harvested, are examples of how places are evoked.

    Nordic: A Photographic Essay of Landscapes, Food and People
    Magnus Nilsson. Phaidon Press, 2016

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  • Hannah Warren (b. 1983)
    A Map of the Nordic Region
    2010
    Digital collage
    Made for the book Noma: Time and Place in Nordic Cuisine, Phaidon Press 2010. Private collection

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  • Knud Leem (1697–1774)
    An Account of the Laplanders of Finmark, their Language, Manners, and Religion
    Royal Mission College, Copenhagen 1767
    Nasjonalmuseet

    Several artists have contributed to the design of the sources and slides. The slides were produced in the first half of the 1750s. At the time this work was created, “Laplanders” was the historical term used to refer to the Sámi people. Today, this term is recognized as outdated and offensive. The work serves as an important historical record of Sámi life, including practices such as foraging, hunting, and food traditions. Created during the Enlightenment era’s pursuit of encyclopedic knowledge and mapping, it was produced by royal decree within a colonial framework. Despite this context, it remains a valuable source on Sámi culture of the period.

    Gigging
    Facsimilie of line etching and engraving on paper 

    Salmon Fishing with Net
    Facsimilie of line etching and engraving on paper

    Deer Butchering
    Facsimilie of line etching and engraving on paper

    Rose Fish
    Facsimilie of line etching and engraving on paper

    Male and female reindeer
    Line etching and copperplate engravings on paper. Nasjonalmuseet

    Koks: Faroe Islands Flavor
    Poul Andrias Ziska. Sprotin, 2022

    The Nordic Baking Book
    Magnus Nilsson. Phaidon Press, 2015

    Back to Landscape Shelf

  • Maaemo
    Spread: Roderick Sloan. Esben Holmboe-Bang. Cappelen Damm, 2017

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  • Map of the northern seas Carte des mers du Nord, indiquant les tempĂŠratures de la surface de la mer pendant les trois voyages de la corvette la Recherche (1840s)
    Facsimile of etching on paper. Nasjonalmuseet

    Ancient tracks in the sea off the coast of Finnmark Traces anciennes de la mer, en Finmark (Norvège) (1840s)
    Facsimile of aquatint on paper. Nasjonalmuseet

    Rock ptarmigan (1840s)
    Facsimile of hand-coloured lithograph on paper

    PasiphĂŚa tarda; Pandalus borealis (1840s)
    Facsimile of lithograph on paper. Nasjonalmuseet

    Northern Lights north of Bossekop, 11 January 1838, 8:20 pm
    Facsimile of lithograph on paper. Nasjonalmuseet

    Ancient tracks in the sea (the east coast of Sweden)
    Traces anciennes de la mer (côte orientale de Suède) (1840s)
    Facsimile of aquatint on paper. Nasjonalmuseet

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  • From the plate book La Recherche
    Paul Gaimard, Voyage de la Commision Sentifique du Nord en Scandinavie, en Laponie, au Spitzberg et aux Feröe, 1838–1840
    Published in Paris between 1848 and 1856

    Vue de Thorshavn – départ de La Recherche
    La Recherche departing Torshavn
    Lithograph on paper. Nasjonalmuseet

    Norway Lobster
    Facsimilie of line etching and engraving on paper

    Back to Landscape Shelf

  • The Nordic Cookbook
    Magnus Nilsson. Phaidon Press, 2015

    Back to Landscape Shelf

Back to Table of Contents

Chapter 2: The Ingredient

The unique ingredient – taken straight from the forest, field or sea – takes center stage. A carrot, a spruce tip or a langoustine is both an expression of, and the result of, an interaction between place (soil and climate) and time (season). There is a focus on wild plants, animal welfare, ecology and biodynamics, and gatherers and farmers are given a special status. Coming into contact with the origin of the ingredients, and foraging and growing your own plants, become ideals for chefs and for society as a whole. The concept of the unique ingredient is closely related to Vitalism, an artistic movement which revolved around the vitality of nature.

Spotlights

  • 16

    Toril Redalen (b. 1973)
    Lettuce Legacy – Salatstudie ((2023-2025))
     Clay dug by the artist in Trondheim, Sandnes, Grenland, Cornwall and Bohemia. Found vegetation, wood, metal and porcelain
    Various techniques. Private collection

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  • 17

    Pentti Kaskipuro (1930–2010)
    Beetroot in window (1980)
     Drypoint on paper. Nasjonalmuseet

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  • 18

    Photo from Kadeau, Bornholm
    Photographer: Søren Reed
     2024. Digital print. Private collection

    Photographer: Marie Louise Munkegaard
    2014–2023. Digital print. Private collection

    Photographer: Gilles Draps
    2023. Digital print. Private collection

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  • 19

    Pentti Kaskipuro (1930–2010)
    Carrot II (1986)
     Drypoint and aquatint on paper

    Leek and piece of swede I (1994)
     Drypoint and aquatint on paper. Nasjonalmuseet

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  • 20

    Film: The Ingredient
    Film: Hacienda, 8 min, 56 sek/ sec

    Jim-AndrĂŠ Stene calls himself a villbonde – a “wild farmer”. He owns and runs Trøndelag Sankeri, which supplies fresh produce to the restaurant Credo. In the countryside around Trondheim, he gathers juniper berries and mushrooms. We also meet him down by the coast at Byneset, southeast of Trondheim.
       Farmer and historian Jon Fredrik Skauge invites us into the storehouse at FannremsgĂĽrden in Orkdal in the county of Trøndelag, where he has a large collection of cultural artefacts. Jon Fredrik also produces flax, which he sows, harvests and processes, and then weaves into linen napkins for the guests at Credo. 
           Skjølberg Søndre is a biodynamic closed loop farm at Svorkmo in Trøndelag. When we meet Elin Skjølberg and Carl Erik Skjølberg, they are delivering butter to Credo. They keep cattle and grow vegetables for the restaurant. Food waste from Credo goes back into the compost used on the farm. Their collaboration began in 2013.
       For Espen Eek, fishing is a side job. He has a fishing boat at Grilstad in Trondheim, and he supplies products like langoustines to Domstein, who in turn supply Credo.
       Lars Åge Brandsfjell is a SĂĄmi reindeer herder and a landowner in Trøndelag. Now he is retired, and he has passed the baton to the next generation. Reindeer from his flock are sent to Stensaas Reinsdyrslakteri for slaughter and then prepared in Credo’s kitchen.
       Sissel Wathne used to run the ceramics workshop Wathne Studio in Røros. In the film, she gathers iron oxide as a pigment for the ceramics she will supply to Credo. Wathne Studio moved to Lillehammer in 2024.

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  • 21

    Futurefarmers
    Land Declaration
    Pencil on paper, birch, glass, soil. Private collection

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  • 22

    Sanke
    App (2020–2025)
    Producer: Sanke Ideelt, with Fragment, Iterate, Bielke&Yang, Norwegian Association for Mycology and Foraging, Gaute Vindegg, Kristin H.R. Nielsen and Mari Kanstad Johnsen
    Developed with the support of European Green Capital 2019 and the Sparebankstiftelsen DNB foundation. Private collection

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  • 23

    Benjamin Alexander Huseby (b. 1976)
    Weeds & Aliens – An Unnatural History of Plants (2014)
     Torpedo Press
    Photos from Weeds & Aliens – An Unnatural History of Plants:
     1. Pleurotus ostreatus / Oyster Mushroom, 2011
    2. Anthriscus caucalis / Bur Chervil, 2013
     3. Humulus lupulus / Hop, 2014
     4. Urtica dioica / Stinging Nettle, 2013
    Digital C-type print. Private collection

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  • 24

    Display case
    Weeds & Aliens – An Unnatural History of Plants (2014)
     Torpedo Press
    Photos from Weeds & Aliens – An Unnatural History of Plants:
    1. Quercus robur / Oak (Pendunculate), 2013
    2. Capsella bursa-pastoris / Shepherd’s Purse, 2013
    3. Trifolium repens / White Clover, 2013
    Digital print. Private collection

    Weeds and Aliens is at once a field guide, a political pamphlet, and an art book. It contains descriptions  and photographs of edible plants the artist has picked on his way to the studio and served as food. The work links sensory pleasure and protecting vulnerable ecosystems with the politically charged question of what and who belongs in a place. What separates useful plants from weeds, and natives from so-called invasive and alien species?

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  • 25

    Kvae & Bark
    The Wind that Overturned the Leaves (2025)
     Steel, willow and various organic materials. Private collection

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Shelf: Ingredient

🔎 Check upper left corner of each cubby for item ID.

NN Shelf Diagram - Ingredient

  • Diving and gathering equipment from
    Roderick Sloan (b. 1970) (2000s)
    Dive gear with disabled tank. Snail / Limpet catcher.
    Net
    Private collection

    Roderick Sloan, who is based at Steigen in Nordland, showed that not only chefs, but also suppliers of produce – such as hunters, foragers and farmers – could become superstars through New Nordic Cuisine. As a result of him supplying Noma and other restaurants, as well as international lectures and media coverage, Sloan’s hand-picked sea urchins and 300-year-old mahogany clams gained mythical status. This equipment bears witness to how much hard work in extreme conditions went into collecting them.

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  • Genomic Gastronomy
    Edimental Eating (Malvik Mix) (2025)
    Digital film. Private collection

    At his permaculture forest garden in Malvik, Stephen Barstow has tested 4,000 different cultivars. 1,500 of them have survived and can be harvested at different times of year. The film, which follows Barstow through several seasons, is a portrait of a leading campaigner for old and new domesticated plants in Norway. It is also the story of a unique project that challenges the definition of what belongs naturally in a particular place. Local growing conditions and mild winters mean that plants from all over the world can thrive here.

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  • Arne Brimi (b. 1957)
    Brimi’s spices (ca. 1990)
    Poster. Private collection

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  • Maaemo
    Spread: Roderick Sloan. Esben Holmboe-Bang
    Cappelen Damm, 2017

    Noma: Time and Place in Nordic Cuisine
    Spread: Roderick Sloan. RenĂŠ Redzepi. Phaidon Press, 2010

    Back to Ingredient Shelf

  • Myx lamp (2013)
    Designer: Jonas Edvard (b. 1982). Produced: 2025
    Mycelium and plant fibres. Private collection

    Gesso lamp (2014)
    Designer: Jonas Edvard (b. 1982). Produced: 2023
    Limestone and bio-resin. Private collection

    Noma algae paper lamp (2015)
    Designer: Jonas Edvard (b. 1982) Produced: 2023
    Algae and recycled paper. Private collection

    Back to Ingredient Shelf

  • On Eating Insects: Essays, Stories and Recipes
    Nordic Food Lab. Phaidon Press, 2017

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  • Tools from Korsvold farm, SkjĂŚrhalden (2000s)
    Pointed spade. Shovel. Dock digger. Plant stakes.
    Weeder. Harvest knife. Catalogue from RunĂĽbergs frĂśer
    Private collection

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  • Koks: Faroe Islands Flavor
    Poul Andrias Ziska. Sprotin, 2022

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  • Geir Mogen
    Portrait of Credo’s cattle: Cutsji, Lucy 2, Bergrosa, Høgti (2010s–2020s)
    Photo paper, oak, brass. Restaurant Credo

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  • Futurefarmers
    Flatbread Society / LosĂŚtra
    2015

    Soil Procession
    2015

    Digital film

    Poster for Soil Procession
    Digital print on paper

    Flatbread Society / LosĂŚtra
    Digital print on paper, framed

    Flatbread Society Open Source Farm – diagram
    Digital print on paper, framed

    Flatbread Society Open Source Farm – two concept drawings
    Digital print on paper, framed
    Private collection

    When Bjørvika in Oslo was developed, a small pocket of land was cleared for the cultural commons Losæter – a project which combines urban farming, placemaking and community-based art, created in collaboration with the artist collective Futurefarmers. Since the first allotments were made from raised beds, the project has added a bakehouse and an urban farmer. In Soil Procession (2015), 300 people walked across Oslo to this location with soil from 50 organic farms. This symbolic mix forms the basis for the soil where vegetables and heritage grains now grow.

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  • Slippurinn: Recipes and Stories from Iceland
    GĂ­sli Matt. Phaidon Press, 2021

    Fäviken
    Magnus Nilsson. Phaidon Press, 2012

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  • Ny norsk mat
    Even Ramsvik. Forlaget Press, 2017

    Koks
    Bent Christensen, Leif Sorensen, Claes Bech-Poulsen
    Bent C. Forlag, 2012

    Back to Ingredient Shelf

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Chapter 3: Technique

The qualities of the ingredients must be retained when they are processed and prepared for use. In the New Nordic Cuisine, the high-tech coexists with the analogue and home-made. In the early 2000s, restaurants were influenced by the most technology and science-based contemporary international cuisine, with its water baths, foams and vibrant green herb oils. Various fermentation techniques transformed the ingredients with the aid of microbial food cultures. During the 2010s, this was superseded by an interest in traditional Nordic techniques, including hearth cooking and preserving food by smoking, salting and pickling. This was a reflection of the interest art movements were showing in material culture and cultural heritage.

Spotlights

  • 26

    Film: Technique
    Film: Hacienda, 2 min, 55 sek/ sec

    Elin Skjølberg washes and packages butter for delivery to the restaurant Credo. Skjølberg Søndre is run as a closed loop farm by Elin and Carl Erik Skjølberg.
       Jim-AndrĂŠ Stene, who calls himself a “wild farmer”, owns and runs Trøndelag Sankeri. He gathers, prepares and packages wild plants for delivery to Credo.
       Ceramicist Sissel Wathne receives reindeer bones from Credo’s kitchen. The bones are burnt and crushed into a fine powder, which is mixed into the glaze of the ableware she supplies to the restaurant.
       Heidi Bjerkan runs Credo. In the film, we meet her at the restaurant’s premises in an old machine hall in Trondheim. In the kitchen, reindeer tongue supplied by Lars Åge Brandsfjell is seasoned with juniper berries from Trøndelag Sankeri before the dish is served up and presented on Wathne’s ceramics. The langoustines come from the fisherman Espen Eek. In 2025, Credo will open a new restaurant at the National Library of Norway in Oslo.
       Jon Fredrik Skauge is a farmer and historian who also produces flax. He processes and cards the flax before it is woven into napkins for use at Credo.

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  • 27

    Matthew Dalziel (b. 1982)
    Multispecies Neighbourhoods (2023)
    1:20 scale model. Model: Cabbage palm fibres. Plinth: Lime/cork plaster, spruce. Model made in collaboration with Raphaelle Jones.
    Plinth made by the artist. Private collection

    House for a forest (2024)
    1:50-scale model. Model: Hydraulic lime, Hemp wood chip. Plinth: Lime/cork plaster, spruce. Plinth made by the artist.
    Private collection

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  • 28

    Display case:
    1. Hempcrete
    2. Lime Binder
    3. Hemp Shiv
    4. Clay Board
    5. Jute Textile
    6. Clay Plaster
    7. Clay
    8. Chopped Straw
    9. Cork / Lime Plaster
    10. Lime Binder
    11. Cork Aggregate
    12. 3-Layer Norwegian Oak Board
    13. Norwegian Southern Oak
    14. Cork oak waste from wine industry
    15. Hemp Fiber Batt
    16. Hemp Fiber Mat
    17. Hemp Fiber
    18. Text: House for a forest text
    19. Text: Multispecies Neighbourhoods text

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  • 29

    Lars Petter Pettersen (b. 1977)
    Photographs (2017–2025)
    Digital print. Private collection

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Shelf: Technique

🔎 Check upper left corner of each cubby for item ID.

NN Shelf Diagram - Technique

  • Sous-vide-circulator
    Restaurant Maaemo, Oslo

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  • Thermomix TM31
    Kitchen appliance
    Producer: Vorwerck. Restaurant Maaemo, Oslo

    New Nordic Cuisine arose at a time when international restaurant cuisine was focusing on technology and science, which included drawing inspiration from molecular gastronomy. Several appliances were introduced to create emulsions (fats mixed with other liquids) and to control the interaction between temperature and time to achieve the desired outcomes. The Thermomix, which was first introduced in 1971, could heat its contents to an exact temperature, and it was ideal for making the colorful herb oils which became so popular. This particular model, borrowed from the restaurant Maaemo, has been heavily used, and its mixing bowl was thrown away after it broke.

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  • Yakitori konro grill
    Restaurant Credo

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  • Grill
    Big Green Egg Large (2025)
    Producer: Big Green Egg Nordic. Ceramic kamado grill.
    Donated by Sutter Home & Hearth

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  • Storage containers
    Restaurant Maaemo, Oslo

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  • Magnus Ek (b. 1966)
    Langoustine press for squeezing out protein and
    juice from langoustine heads (2017)
    Oak, beech, stainless steel. Private collection

    The langoustine press, made for the restaurant Oaxen Krog by its head chef, consists of two kinds of wood impregnated with vegetable oil and wax. Like a Nordic take on a French duck press, it squeezes liquid out of the head of the langoustine so that it can be used as a sauce. The press has been repaired several times and its appearance has changed over the course of the years.

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  • Fermentation equipment
    B.Culture, Oslo.
    Brand identity: John Njoki.
    Dried grey peas.
    Pea miso (Peaso).
    Bottles 100 ml.
    Bottles 500 ml
    Dried barley.
    Finished koji.
    Cheap thermometer.
    Lab grade thermometer.
    pH meter.
    Inkbird temperature controller.
    Koji spores in jar.
    Shaker to dispense spores.
    Koji spores in original bag.
    Scale for spores.
    Flake salt used in all ferments.
    Salt in original packaging Jars.
    Salt meter
    Private collection

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  • The Nordic Baking Book
    Magnus Nilsson. Phaidon Press, 2015

    The Nordic Cookbook
    Magnus Nilsson. Phaidon Press, 2015

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  • Ekstedt: The Nordic Art of Analogue Cooking
    Niklas Ekstedt. Bloomsbury Absolute, 2020

    RelĂŚ: A Book of Ideas
    Christian Puglisi. Ten Speed Press, 2014

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  • Elisa Helland-Hansen (b. 1950)
    Two kimchi jars (2024)
    Thrown and glazed stoneware. Nasjonalmuseet

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  • North: The New Nordic Cuisine of Iceland
    Gunnar Karl Gislason

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  • Maaemo
    Spread: Roderick Sloan. Esben Holmboe-Bang.
    Cappelen Damm, 2017

    Fäviken
    Magnus Nilsson. Phaidon Press, 2012

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  • Sissel Wathne (b. 1981)
    Glaze samples (2021–2023)
    Glaze samples showing tests of langoustine, reindeer and cattle bone glaze, as well as glazes made of iron ore from the slag heaps at abandoned mines at Røros. Glazed stoneware. Private collection

    Ceramicist Sissel Wathne experiments with how natural materials affect the glaze on ceramics. For many years, she lived and worked in Røros. From the slag heaps outside the abandoned mines, she would collect minerals to give color to her glazes. Together with the Head Chef Heidi Bjerkan at Credo, Wathne has designed tableware for the restaurant. To make her ceramics, she has used waste materials from the restaurant, such as langoustine shells and the bones of reindeer and cows. These are burnt at high temperature to make calcium, which is ground into a powder and used as the flux in the glaze.

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  • Glass jars with raw materials
    Raw materials from the iron mines at Røros. Bone and
    shell at various stages from dried, charred, coarsely
    crushed and pulverised. Raw materials from the
    restaurant Credo
    Private collection

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  • Storwartz-/Røros-glaze
    Seven sizes of dishes, jar with minerals and glaze tests
    Produced by: Sissel Wathne
    Thrown and glazed stoneware with Storwartz-/Røros-glaze
    Private collection

    The reindeer (process) (2016–2024)
    Sketch of service piece with reindeer glaze for blood
    pudding. Reindeer top with reindeer glaze. Reindeer
    bones, pulverised and ground. Producer: Sissel Wathne
    For: Restaurant Credo
    Private collection

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  • The langoustine project
    Sketch for langoustine dish. Testing various way of presenting a langoustine dish, as well as testing glazes containing langoustine shell. Producer: Sissel Wathne For: Restaurant Credo
    Private collection

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  • Koks: Faroe Islands Flavor
    Poul Andrias Ziska. Sprotin, 2022

    Fäviken 4015 days — Beginning to End
    Nordic Food Lab. Phaidon Press, 2020

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  • Jon Fredrik Skauge (b. 1978)
    Linen placemat for the restaurant Credo (2010s–2020s)
    Processed and woven linen. Restaurant Credo

    Old serving stand and plate
    Wood. Restaurant Credo

    Sissel Wathne (b. 1981)
    Serving plates for the restaurant Credo (2023)
    Stoneware, glazed with cattle bone, reindeer and langoustine glaze. Private collection

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  • Maaemo
    Spread: Roderick Sloan. Esben Holmboe-Bang.
    Cappelen Damm, 2017

    Slippurinn: Recipes and Stories from Iceland
    GĂ­sli Matt. Phaidon Press, 2021

    Back to Technique Shelf

Back to Table of Contents

Chapter 4: The Presentation

The New Nordic aesthetic is a product of the landscape, natural materials and techniques. It encompasses various styles ranging from rustic and traditional to elegant and minimalist. But the goal is always the same: to express the unique ambience of the time and place – the genius loci (spirit of place). Within the restaurant, architecture, design, craft and gastronomy are combined to create a holistic experience. Interiors finished in natural materials, wild vegetation used as decor and tableware made of ceramics, stone and wood combine to create a naturalistic visual and tactile backdrop. The dishes highlight exceptional ingredients presented using a variety of techniques. Aromas, flavors and acoustics are used to activate all of the senses.

Shelf: The Presentation

🔎 Check upper left corner of each cubby for item ID.

NN Shelf Diagram - Presentation

  • Lamps
    Producer: København Møbelsnedkeri. Brass.
    Restaurant Lysverket – Christopher Haatuft, Bergen

    Chair (2016)
    Producer: København Møbelsnedkeri. Oak
    Restaurant Lysverket – Christopher Haatuft, Bergen

    The aesthetic of the furniture in the New Nordic restaurants travelled across national borders. Københavns møbelsnedkeri supplied the furniture for the restaurant Relæ, including special tables. The chef Christian Puglisi had seen a table with a drawer for flatbread in Gudbrandsdalen, and he wanted a table with an equivalent drawer for cutlery and menus which guests could access themselves. Relæ’s interior design inspired several other restaurants, and the chef Christopher Haatuft ordered furniture for the restaurant Lysverket in Bergen from Københavns møbelsnedkeri.

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  • Tableware for the restaurant
    Kontrast, Oslo (2016–2022)
    Design and producer: Odd Standard
    Ceramics, concrete and stone. Private collection

    Tableware for various restaurants (2016–2022)
    Designer and producer: Odd Standard
    Ceramics and glass. Private collection

    Individual styles
    At New Nordic restaurants, both the ingredients and the tableware are locally sourced. Chefs often collaborate with local ceramicists or designers to come up with individual serving pieces to present their numerous dishes. Local natural materials, like stone, branches and moss, are often used to present the dishes. These local designs create a sense of harmony, but they can also be challenging and surprising.

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  • KBH Deluxe Table (2016)
    Producer: København Møbelsnedkeri
    Restaurant Lysverket – Christopher Haatuft, Bergen
    Oak

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  • Y Chair (1950)
    Design: Hans J. Wegner, Denmark. Producer: Carl J. Hansen. Recent. With sheepskin pelt
    Oak and woven seat. Nasjonalmuseet

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  • Tableware for the restaurant Re-naa, Stavanger (2016–2022)
    Design and producer: Odd Standard
    Ceramics, glass and wood. Private collection

    Tableware for the restaurant Rest, Oslo (2019)
    Designer and producer: Odd Standard
    Various types of clay and waste materials such as oyster shells, chicken feet and recycled glass. Private collection

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  • KBH Deluxe Table – with specially made drawer for menu and cutlery (2016)
    Oak
    Producer: København Møbelsnedkeri
    The restaurant RelĂŚ, Copenhagen

    Ceramics
    What happened to the white porcelain plates in restaurants? The interior designs of New Nordic restaurants often feature natural and rustic elements. This is also true of the tableware, both in terms of choice of materials and design. The many dishes that make up the meal are presented on specially designed serving pieces, which is a tradition taken from Japan. There is great deal of variety, from rustic pieces made of coarse clay, via sculptural stands to soft, hand-thrown designs with silky glazes. The colors are often subdued and earthy. This aesthetic has influenced the ceramics industry, mimicking the individuality of craft pieces in its current mass production.

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  • Anette Krogstad (b. 1984)
    Plates for the restaurant Noma, Copenhagen (2017–2018)
    Thrown glazed stoneware. Nordenfjeldske Kunstindustrimuseum. National Museum of Decorative Arts and Design

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  • Gurli ElbĂŚkgĂĽrd
    Tableware for the restaurant Geranium, Copenhagen (2016)
    Cast, thrown and glazed porcelain. Private collection
    Tableware for the restaurant Arakataka, Oslo (2015)
    Thrown and glazed stoneware. Private collection
    Tableware for the restaurant Nye Bagatelle, Oslo (2012–2013)
    Cast or thrown and glazed stoneware or porcelain. Private collection

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  • Magnus Ek (b. 1966)
    Various appliances and pieces of tableware, Oaxen
    Sauce pot for hot and cold broth and sauce
    Ash
    Small plate for snacks to be eaten with your hand
    Oak
    Serving dish with lid for a hot and spicy blood brioche
    Ash, cowskin
    Holder for a paper filter to make cold and hot herbal
    infusions
    Ash
    Stand for crispy cone shaped snacks
    Ash, brass
    Bowl with straw, for a pre-dessert dish
    Oak
    Plate used for serving individual snacks
    Ash
    2017–2021. Various materials. Private collection

    Anette Krogstad (b. 1984)
    Plates for the restaurant Ylajali, Oslo (2013)
    Thrown glazed stoneware. Private collection

    Anne Udnes (b. 1958)
    Stones and egg for the restaurant Ylajali, Oslo
    2010s. Stoneware, thrown with porcelainslip. Private collection

    Spoon (1943)
    Skaugum cutlery, restaurant Ylajali, Oslo
    Producer: Skaugum bestikkfabrikk. This cutlery set: new production.
    Steel and plastic. Private collection

    Stone placemat (2010s)
    Stone placemat, restaurant Ylajali, Oslo
    Granite. Private collection

    Deep plate
    Bogstad straw pattern (1887), restaurant Ylajali, Oslo
    Producer: Porsgrunds PorselĂŚnsfabrik
    This plate: new production. Underglaze on porcelain.
    Private collection

    Menu from the restaurant Ylajali, Oslo (2012)
    Design: Even Ramsvik, Ane Thon Knutsen,
    Elin Myrekrok Skrede
    Bound book. Private collection

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  • Malling & Schmidt
    Ehrhorn Hummerston, 2012

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  • U01 Chair for the restaurant Under (2018)
    Design: Snøhetta. Producer: Hamran
    Oak and paracord. Private collection

    Decorative textile for the restaurant Under, Lindesnes (2018)
    Design: Snøhetta AS. Producer: Kvadrat
    Paracord. Private collection

    Several New Nordic restaurants commissioned specially-designed furniture. Snøhetta did not just design a building with an artificial reef for the restaurant Under in Lindesnes – it also did the interior design. This textile sample is from the acoustic, fire-resistant ceiling, which was developed in collaboration with Kvadrat and incorporates color tones from the local sunset. The chair, which was developed in collaboration with Hamran, has a shape that echoes the movement from land, down below water and back up again.

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  • Serving ware and tableware for the restaurant Under, Lindesnes (2019–2025)
    Design and production of ceramics: Ment. Production of wooden products: Erlend Søderlund. Dinnerware: cast and glazed porcelain, pigmented with magnetite from Rana Gruber. Sand bowl and sand plate: modeled stoneware with sand from Lindesnes
    Private collection

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  • Serving utensils and graphic identity for the restaurant Barr (2017–2018)
    Design: Snøhetta. Producer: Table Noir AS
    Stainless steel. Private collection

    Lena Willhammar
    Tableware for the restaurant Daniel Berlin /Daniel Berlin Krog, Skåne (2009–2025)
    Cast and glazed porcelain. Private collection

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  • Koks: Faroe Islands Flavor
    Poul Andrias Ziska. Sprotin, 2022

    Fäviken 4015 days — Beginning to End
    Nordic Food Lab. Phaidon Press, 2020

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  • Anette Krogstad (b. 1984)
    Tableware for the restaurant SchlagergĂĽrden, Oslo (2021)
    Thrown and glazed stoneware. Private collection

    Tableware for the restaurant Hotshop, Oslo (2020–2023)
    Thrown and glazed stoneware.Private collection

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  • Anette Krogstad (b. 1984)
    Tableware for the restaurant Pjoltergeist, Oslo (2014–2015)
    Thrown and glazed stoneware. Private collection

    Tableware for the restaurant Varemottaket, Oslo (2023)
    Thrown and glazed stoneware. Private collection

    Sara Skotte (b. 1978)
    Tableware for the restaurant Maaemo, Oslo (2013)
    Cast and glazed porcelain. Private collection

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  • Visual identity for Food Studio (2012)
    Design: Bielke&Yang, Food Studio
    Private collection

    UWBM 12505, Reindeer antler, Rangifer tarandus
    On loan from the Burke Museum Mammalogy Department

    The oyster shells are courtesy of Sea Creatures, The Walrus & The Carpenter.

    Back to Presentation Shelf

Back to Table of Contents

Spotlights

  • 30

    Film: Presentation
    Film: Hacienda, 2 min, 55 sec

    Back to Table of Contents

  • 31

    Rune Rake (b. 1962)
    Photo from Maaemo (2010–2024)
    Digital photo and video. Private collection

    Photo of the dish Oyster ‘Tradition 2010’ (Maaemo) 
    In order, from left to right: December 2010, June 2011, March 2012, July 2015, April 2017, February 2018, May 2018, April 2019, December 2019, May 2020, February 2022, September 2022
    Digital photo, digital print. Private collection

    Photos taken by customers on their mobile phones and published on blogs, Instagram or Tripadvisor have become integral to how restaurant visits are experienced and communicated. The engineer Rune Rake has racked up well over 100 visits to Maaemo in Oslo – and 5,000 photos. The photo reel on the screen shows how the aesthetics of the meal have evolved over the course of 14 years from the perspective of a regular diner. The series of photos on the wall documents the changes in the techniques and tableware for Maaemo’s signature dish, Oyster â€˜Tradition 2010’.

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  • 32

    Tableau Kadeau

    Marie-Louise Munkegaard (b. 1980)
    Photographs for Kadeau (2014–2022)
    Digital print. Private collection

    Gilles Drapes
    Photographs for Kadeau (2023)
    Digital print. Private collection

    Søren Reed
    Photographs for Kadeau (2024)
    Digital print. Private collection

    Tableware for the restaurant Kadeau (2023)
    Designer and producer: Lov i Listed
    Thrown and glazed stoneware, metal and wood. Restaurant Kadeau, Bornholm

    Herringbone-glass (2020s)
    The Kadeau glassware collection
    Producer: Baltic Sea Glass
    Mould-blown glassware. Restaurant Kadeau, Bornholm

    Various items for the restaurant Kadeau
    Woven basket. Cutlery. Ocean quahog and Iceland scallop for serving food. Napkin
    Restaurant Kadeau, Bornholm

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  • 33

    TablĂĽ Maaemo / Tableau maaemo
    Burke Museum (UWBM Malacology). These shells are Northern quahog Mercenaria mercenaria, False jingle Pododesmus macrochisma, and Calico scallop Argopecten gibbus.

    Stamp NK 1930–1931: Nordic Food Culture
    Langoustine on spruce branches, Maaemo (2016)
    Designer: Kristin Granli. Photo: Mette Randem
    Posten Bring A/S. Private collection.

    Anders Husa (b. 1984)
    Photographs, Maaemo (2015)
    Digital print. Private collection

    Lars Petter Pettersen (b. 1977)
    Photographs, Maaemo (2017)
    Digital print. Private collection

    Danny Larsen (b. 1981)
    Thor and the JĂśtnar (2015)
    Drawing. Maaemo, Oslo

    Armchair
    CH 20 (1956)
    Design: Hans J. Wegner. Producer: Carl Hansen & Søn
    This chair: New production. Oak with leather seat. Maaemo, Oslo

    Cutlery
    Kristin cutlery (1994)
    Design: Odd Leikvoll. Producer: Hardanger Bestikk.
    Recent
    Stainless steel 18/10. Maaemo, Oslo

    Table top from Chef’s Table (2015)
    Marble. Maaemo, Oslo

    Kettle
    Copper. Maaemo, Oslo

    Wooden dish
    Turned wood. Maaemo, Oslo

    Knife
    Maaemo, Oslo

    Wooden spoons and knives (2010s)
    Designer and producer: Brynjulf Hammer Krogstrand
    Wooden cutlery, knives with reindeer antler handles. Maaemo, Oslo

    Glass dish
    Smiley
    Producer: Eva Solo. Recent
    Glass. Maaemo, Oslo

    Anne Udnes (b. 1958)
    Plate (2015)
    Thrown and glazed stoneware with texture, different glazes.
    Maaemo, Oslo

    Deep plate (2015)
    Thrown and glazed stoneware. Maaemo, Oslo

    Large vase (2010s)
    Handbuildt stoneware and porcelain. Maaemo, Oslo

    Egg, small vase (2010s)
    Modeled stoneware. Maaemo, Oslo

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Illustration: Oscar Grønner