Taste & Flair June 2023

Feed your imagination

WELCOME

fferent ways, in different times, things change. June conjures up images of open blue skies and calm days by the seaside before the summer rush of tourism and school holidays take over the beaches. As we go to print, the sky is murky and the air is heavy with rain. By the time youíre reading this, we hope that the sunís shining and that itís the perfect time to head to the beach for a leisurely read of Taste&Flair. Inspired by Sophia Lorenís quip that sheíd rather eat pasta and drink wine than be a size zero, Michael Diacono has researched the repertoire of Italyís most famous ingredient, selecting a medley of recipes some of which are quick and easy to make and others that live up to the ethos of slow food. Claire Borg sought solace in the tulip fields outside Amsterdam and was pleased to discover culinary delights in the city itself.

SÈbastien Bras grew up in Languiole, the place he now calls home. The son of legendary French chef Michel Bras, his recipes are influenced by his travels but deeply rooted in the terroir of Aubrac, the secluded region in the South of France where the Bras family restaurant was first established. In our design section we look inside a co≠working space for creatives that pops with colour and bright ideas and a cool, neutral interior that celebrates 60sí minimalism. Last but not least, we talk to the exhibition curator of Decadence, Now., an innovative exhibition and arts programme that took place recently in Valleta.

Weíll be back at the start of July with another fabulous issue of Taste&Flair.

If you missed any issue of Taste&Flair and want a copy, we may be able to help so please do get in touch with us by email, Messenger, or on Instagram.

Publisher The Daphne Caruana Galizia Foundation 56 Melita Street, Valletta VLT1122, Malta

Editorial Board

Paul Caruana Galizia

Andrew Caruana Galizia

Matthew Caruana Galizia

Executive Editor Corinne Vella

Editorial Assistants

Megan Mallia Amy Mallia

Art Director Ramon Micallef +356 9949 1418 ram@box≠design.net

Advertising Manager & Editorial Contributor

The Artistís Garden at Vetheuil, Claude Monet, 1881

When Claude Monet rented the house at VÈtheuil, he arranged with its owner to landscape the terraces, which lead down to the river Seine. The boy with the wagon in the middle ground is the artistís young son, the figures in the background other members of the Monetís extended household. The large flowerpots in the foreground belonged to the artist. They moved with him wherever he stayed, and were placed in other gardens. At first glance, they appear to be blue and white but a closer look shows that they are tinged with green, gold, and pink, reflecting the colours of the garden. The painting hangs in the National Gallery of Art in London, part of the Alison Bruce Collection.

Sean Ellul +356 7921 0705 sellul@independent.com.mt

Advertising Assistant Christine Mifsud +356 21 345 888 ext 138 cmifsud@independent.com.mt

Production Manager AndrÈ Camilleri

Production Assistant Conrad Bondin

Prepress & Printing Print It

All communication about Taste&Flair magazine should be directed to Corinne Vella at corinne.vella@gmail.com

No part of any issue of Taste&Flair may be reproduced without the writen prior agreement of the publisher.

Distributed with The Malta Independent on Sunday*. The Malta Independent on Sunday is published by Standard Publications Ltd Tel +356 21 345 888

*The surcharge on The Malta Independent on Sunday, or any charge for this magazine is retained by Standard Publications Ltd.

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Michael Diaconoís Bucatini with Ricotta, Pistachio and Roasted

Aubergines.

Photo by Brian Grech. See feature on page 24

The iconic Spanish treat, now available in Malta

Handmade since 1910 with 100% natural ingredients –wheat flour, premium quality extra virgin olive oil, sugar, and aromatic spices, each one of Inés Rosales' Oil Tortas is unique and unrepeatable thanks to the delicate hands that shape it before baking.

!"# Going Dutch

Claire Borg discovers culinary delights

$% Living la dolce vita Michael Diaconoís passion for pasta &'

The taste of Aubrac

SÈbastien Brasís deeply rooted terroir

Metamorphosis

The rebirth of Palazzo Parisio (% A niche in time

A former rock bar, transformed ))

NO.9

At home with 60s minimalism

Decadence Now

Objects from the past, ideas for our future

Summer in Malta brings a wave of culinary delights that beckons you to venture beyond the confines of traditional indoor dining. With the sun≠kissed season in full swing, it's time to indulge in the ultimate al fresco experiences, where vibrant summer flavours meet awe≠inspiring waterfront vistas.

Broadside Terrace boasts an impressive selection of prety thirst≠quenchers that have earned the coveted title of "award≠winning." Sip on classic favourites such as Margaritas, Daiquiris, and Mojitos, or venture into uncharted territory with creative concoctions crafed by their expert mixologists.

So, if youíre looking for somewhere that ticks all these particular boxes, itís time to book your table at Broadside Terrace. This stylish outdoor resto≠lounge is perched beautifully on a secluded promontory overlooking the serene St. George's Bay in St. Julian's. Prepare to be captivated by the alluring combination of sensational Eastern Mediterranean≠inspired cuisine, award≠winning cocktails, and an ambiance that transports you to a realm of pure gastronomic bliss by the sea.

At the heart of this culinary spectacle lies an authentic woodchip grill, where the restaurantís master chefs showcase their unrivalled expertise for grilled cuisine. Whether you crave the tenderness of a perfectly cooked steak or the delicate flavours of a fresh catch, every morsel is a harmonious symphony of smoky richness that will leave you yearning for more. And as if that weren't enough, every main course ordered is accompanied by a complimentary meze plater, a captivating medley of dips and freshly baked tandoori bread to flawlessly enhance your chosen dish.

For those seeking a lighter indulgence, the Broadside Terrace menu also features a mouth≠watering selection of light bites. From grilled king prawns to charred swordfish marinated in zesty lemon and lime, thereís a litle something for everyone to tuck into as you immerse yourself in the breathtaking sunset views that unfold before you.

Even more pleasures await on the exquisite cocktail menu. Broadside Terrace boasts an impressive selection of prety thirst≠quenchers that have earned the coveted title of "award≠winning." Sip on classic favourites such as Margaritas, Daiquiris, and Mojitos, or venture into uncharted territory with creative concoctions crafed by their expert mixologists.

Winner of the prestigious Hendricks National Cocktails Competition Malta, the Straight Outa the Kitchen cocktail is a masterful creation that harmonises premier gin with refreshing cucumber juice and aromatic basil. The smoky richness of the smoked egg white adds a layer of depth to the experience, while the mojito syrup and lime provide a delightful balance of sweetness and tanginess.

For something more exotic, treat your tastebuds to the Island Paradise cocktail, winner of the esteemed Cocktail Competition Caribbean. This tropical elixir captures the essence of a blissful beach getaway. Indulge in the sweet and creamy embrace of coconut rum blended with bright bursts of grapefruit and lime. Sip by sip, this cocktail conjures up images of swaying palm trees, sandy shores, and the gentle rhythm of the ocean waves. There are plenty more delightful sundowners to indulge on here.

The trepidation that ofen accompanies the discovery of a top≠notch al fresco eatery during the peak of summer is the concern of it being uncomfortably packed out. Rest assured that such worries dissolve into thin air at Broadside Terrace. Every detail of the layout has been meticulously planned to ensure an enchanting experience for all diners, at any time. Thoughtfully arranged tables grant each guest ample space, ensuring a sense of intimacy on the spacious outdoor terrace even at full capacity. Plus, with complimentary parking provided for all patrons, dining at Broadside Terrace is truly the epitome of a laid≠back night out.

From the moment you arrive, greeted by a dreamy sunset and tantalising smoky aromas on the breeze, to the last bite and sip under the twinkling summer stars, Broadside Terrace unveils a world of gastronomic wonders that beckon you to return time and time again.

Indulge in the extraordinary al fresco dining experience at Broadside Terrace. Open daily from 5.30pm to midnight. Enjoy complimentary parking at the Corinthia St Georgeís Bay hotel car park. Book now for an unforgettable experience.

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PHOTOGRAPHY:

Amsterdam was not high on my list of places to visit. In my mind one only went to Amsterdam for one reason its long≠standing reputation as a party destination. But I was pleasantly surprised. The main reason I wanted to visit is because my best friend, Kay, who was Dutch, unfortunately passed away last July. On her birthday, the first one apart, I wanted to be among the tulips so closely associated with her home country.

Tulip season is between April and May. If you love flowers or even if you just like them the

Netherlands is a magical place to be at this time of year. I booked a private tour and visited tulip farms and gardens. The experience was both soothing and uplifing. The Netherlands produces 80% of the world's tulip bulbs, and the quantities, varieties, colours, and displays of flowers are stunning. Standing in a tulip field just takes your breath away. As a foodie, Amsterdam is not at the top of my goto places. However, with proper research and booking in advance, I ate at a few good restaurants. My biggest surprise and delight were the pancakes. There was

Standing in a tulip field just takes your breath away.

one pancake place that I visited three times. They serve thin pancakes that have all the goodies ìstuckî inside the bater and cooked with the pancake itself. Slices of apple, for instance, are placed in the pan while the bater is still runny and cooked as part of the pancake. The same goes for bacon, and for ham and mushrooms. There are so many savoury and sweet options, that you are spoilt for choice. A sweet syrup a bit like a golden syrup is served alongside both savoury and sweet orders and drizzled over everything.

Then there were poffertjes . When my order arrived, I thought ìtoo much icing sugarî. But as I dug into them, it was just right. I had them with a warm cherry comp te, loads of buter and loads of icing

sugar. They were so good I went back the next day and the one afer that too. Then when it hit me that I was coming back home, I bought a poffertjes pan so I could make them in my own kitchen. And I brought back some good cheeses too a black one flavoured with lemon, a good goat cheese and a lovely sof blue cheese made with sheep's milk. The best places to buy cheeses are the smaller shops away from the tourist traps along the busy main roads.

And when youíre done shopping, take a cooking class, and go on a canal tour and cycling tour to see the city from different angles. The city is so prety seen from the water. Amsterdam forgive me, for thinking so tlitle of you when I should have known beter. I shall be back, I promise.

YOU WILL NEED:

110g plain flour

110g buckwheat flour

7g dry active yeast

50g sugar

¼ teaspoon salt

1 egg

350ml lukewarm milk

FOR COOKING:

vegetable oil

TO SERVE:

icing sugar butter

!"#In a large bowl, mix together the flours, sugar, and salt.

$"#Make sure the milk is warm and not hot as this will kill the yeast. Add the yeast and let it dissolve.

%"#Add the egg and beat it in, then pour the wet ingredients into the bowl of dry ingredients and whisk everything together until the mixture is smooth. Cover the bowl and let it rest until the mixture is bubbly. At this time of year, this will take 30 minutes to an hour. In cooler weather, it will take a bit longer.

&"#Heat up the skillet and brush it lightly but thoroughly with oil. You should opt for a medium heat, but adjust as needed for the pancakes not to burn but have enough time to fluff up before becoming dark.

'"#Pour the bater into the panís dents and let it fluff up. This will take a minute or less. When the tops are still runny, use a skewer or a very thin fork to flip over the pancakes and cook their other side. !"##$%&'$(

These delicious mini≠pancakes are made with yeast and buckwheat flour. They date back to the Dutch Abbey, where mini≠pancakes were used as a type of host for weekly communion. To make these, you will need a purpose≠made cast iron pancake skillet. There are two options to acquire this kind of tool, either order online or a quick visit to the Netherlands. If neither option is available, pour the mixture into the cooking pan in small quantities to make these delicious fluffy small pancakes. I like to pour my bater into a squeezy botle so that I can steadily pour the amounts I need.

Poffertjes are served hot, with plenty of buter and icing sugar. This is the original way of enjoying them. However, an array of toppings can be served alongside such as mixed fruit, whipped cream, liqueurs, ice cream, compÙtes and spreads. You can make the poffertjes ahead and then warm them up before serving them.

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Make this a day ahead. Once done, it can be stored for up to three days in the fridge. Use full≠fat sour cream and good quality cream cheese. Fat≠free cream just wonít work. You can tell when this is done once the edges are lightly browned and the centre is still sof and a bit wobbly. Youíll need a 9î springform pan for this.

FOR THE CHEESECAKE:

150g digestive biscuits

450g cream cheese

750ml full fat sour cream

3 large eggs

45g butter, melted

150g granulated sugar

2 teaspoons vanilla extract

FOR THE CHERRY TOPPING:

680g cherries, pitted

100g granulated sugar

60ml water

2 tablespoons cornstarch

1 teaspoon lemon juice

!"#Grease the inside of the pan and preheat the oven to 160∞C.

$"#Crush the biscuits finely and mix them into the melted buter. Stir thoroughly until well combined. Now, press the mixture into the botom of the greased pan and bake it in the preheated oven for 10 minutes. Set it aside to cool.

%"#While the base bakes, prepare the cheese filling. Start by beating the cream cheese and sugar together until they are well combined. Add the eggs one at a time, mixing it in well before adding the next one.

&"#Stir the vanilla extract into the sour cream and blend it into the cheese mixture. Pour the cheese mix over the baked biscuit crust.

'"#Bake the cheesecake until it sets and the edges turn lightly brown. The centre will remain a bit wobbly. This will take 60≠75 minutes.

("#Turn off the oven and loosen the cheese cake by running a thin knife around the edge.

)"#Return the baking pan to the oven and let it cool for an hour leaving the oven door ajar. Next, let the cheesecake cool to room temperature then store it in the fridge for at least 4 hours or, preferably, overnight.

CHERRY TOPPING

!"#Put the pited cherries into a medium≠sized pan. Add the sugar and 3 tablespoons of water and heat through.

$"#Add 1 tablespoon of water to the cornstarch and stir till it dissolves. Stir this into the pan with 1 teaspoon of lemon juice. Remove the pan from the heat and let it cool completely.

%"#Spoon the cherry topping over the cheesecake just before serving.

YOU WILL NEED: 2 eggs 350ml milk 100g plain flour 9 very thin rashers of smoky bacon oil

!"#Mix the eggs and milk into the flour and whisk well until the mixture is smooth.

$"#Heat a pancake skillet or non≠stick pan and lightly brush it with oil. Pour in some of the pancake bater and swirl it around to cover the botom of the pan.

%"#Immediately place as many rashers of bacon as you prefer onto the bater, so that the bacon sticks to it before it sets. Flip the pancake over and cook it till the bacon is crispy.

&"#For a bacon and cheese version, add some finely shredded cheddar or old Amsterdam cheese to the pancake once you flip it over again.

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Stroopwafels were first made in Gouda in the south Netherlands, where the oldest recipe dates back to 1870. They taste best when warm and freshly made, but are delicious any time. You need a special Dutch waffle iron to make these.

Recipe notes

Basterdsuiker is a very fine granulated sugar which is sof and ideal for biscuit≠making. It comes in three varieties, white, brown, and dark brown. This recipe uses wite (white) basterdsuiker for the waffles and bruine (brown) basterdsuiker for the filling.

Zeeuwse bloem is a finely milled cake flour made from sof wheat and is ideal for very light, crispy waffles.

Keukenstroop is made from sugar syrup and glucose syrup. It is molasses≠coloured and its consistency is treacly.

FOR THE WAFFLES:

12g active dry yeast

1.5 tablespoons milk, lukewarm

124g unsalted butter

75g witte basterdsuiker or very fine granulated sugar

250g zeeuwse bloem or cake flour

1 large egg, beaten

1 pinch fine table salt spray cooking oil

FOR THE FILLING:

200g keukenstroop or golden syrup

125g bruine basterdsuiker or brown sugar

100g unsalted butter

1 teaspoon ground cinnamon

!"#First, make the waffle dough. Dissolve the yeast in the lukewarm milk and let the mixture stand for 10 minutes.

$"#Add the buter, sugar, and beaten egg and stir till combined. Sprinkle the salt over the flour and stir well, then stir the dry ingredients into the wet mixture until they are well combined and a dough forms.

%"#Cover the bowl with a damp cloth and let the bowl stand in a warm place for an hour to allow the dough to rise.

&"#Now, line a baking tray with non≠stick paper. Break off pieces of dough and use the flat of your palm to roll them into balls of about 4cm diameter. Place each one on the lined baking tray leaving space in between. Cover the tray with a damp dishcloth and let it stand for 15 minutes while the dough rises.

'"#Heat the waffle iron and spray both sides with the cooking oil. Put a dough ball in the iron and bake it until golden. On a stovetop, this will take 2≠3 minutes. Use a serrated knife to cut the waffle in half horizontally.

("#Spread 1 tablespoon of syrup in the middle of one half of the waffle and sandwich it with the other half, pressing lightly to ensure the filling spreads inside.

)"#Let the filled waffle cool slightly and serve it immediately.

Lightly caramelised fruit give these pancakes additional sweetness. Instead of bananas, you can add sliced apples and raisins for variety.

YOU WILL NEED:

2 eggs

350ml milk

1 teaspoon tip ground cinnamon

100g plain flour

2 small bananas, peeled and thinly sliced oil

!"#Stir the cinnamon into the flour. Mix the eggs and milk together and stir them into the flour mix. Whisk the mixture well until smooth.

$"#Heat a pancake skillet or non≠stick pan and lightly brush it with oil. Pour in some of the pancake bater and swirl it around to cover the botom of the pan.

%"#Immediately place thinly sliced banana over the bater before it sets. Flip over the pancake and cook it till the banana is slightly caramelised.

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I must confess that I could eat pasta every day. As Sophia Loren famously said, “I’d rather eat pasta and drink wine than be a size 0”. Some of these recipes are quick and easy to make while some need more time to cook slowly.

“When serving one or two wines that will complement a number of dishes, my priority would be to choose wines that are easy-to-drink, refreshing and enjoyed by many. Seeing that pasta originates from Italy, I also feel that choosing an Italian wine is the most obvious choice.

Though we tend to think of prosecco as an aperitif, it would work with most of the pasta dishes and also act as a palate cleanser allowing our palate to keep refreshed, especially if the pasta dishes are served in a family style where we can pick and choose at random.

A mineral, crisp and fresh Gavi di Gavi or Pinot Grigio could work wonders and I may also add a more complex Vermentino to the mix, if I wanted to add an interesting wine that is way too ofen overlooked.

While we tend to overlook red wine in summer, a chilled Pino Nero can work well, as would a refreshing and slightly sparkling Lambrusco - the Lambruscoan easydrinking and ofen low alcohol wine that is dangerously enjoyable during lunch.”

Andrew Azzopardi, Vintage 82

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Despite its name, this recipe actually hails from Naples. The sauce is slow≠cooked using lots of onions and braising beef. It would traditionally be served with pasta and the meat then served aferwards with some steamed veg. That way mamma could get two meals out of one pot. The quantities I give here are for the meat to be served with the pasta as one dish. Donít be put off by the long preparation time. Most of it involves leting the sauce pot simmer slowly.

Serves 4

Preparation and cooking: 4 hours

YOU WILL NEED:

extra≠virgin olive oil

50g unsalted butter

1.5kg white onions, peeled and sliced 75g carrot, peeled and diced small 4 fresh bay leaves

4 sprigs thyme

600g braising beef, cut into chunks

75g chopped celery stalk a handful of parsley, chopped 150g dry white wine

salt and pepper

320g tagliatelle

!"#Heat a good glug of extra≠virgin olive oil with the buter in a heavy botomed pot that has a tight≠fi ting lid. Add the sliced onions, carrot, bay leaves and thyme and stir fry on low for about 5 minutes to sofen.

$"#Add the beef, bay leaves, and salt. Stir fry again for a few minutes then cover the pot with the lid. Set the heat to the lowest possible and let the pot simmer gently for 3 hours. You should not need to add any liquid as the white onions will release their juice, but still check the pot and stir it every so ofen, adding a few drops of water if necessary.

%"#Afer 3 hours, add the wine, raise the heat and let the liquid evaporate. Simmer the pot gently for another 20 minutes.

&"#Meanwhile, cook the pasta in plenty of salted boiling water till al dente Scoop out a ladle of the cooking water and add it to the sauce. Drain the pasta and toss it in the sauce over high heat for a minute or two, then serve at once.

The olives provide the black specks that give this dish its name ìpasta with ashesî in English. I find the tastes in this recipe intriguing and very unusual: saffron, Gorgonzola and black olives. Another plus is that this dish is ready in a jiffy.

Serves 4 as a starter Preparation and cooking: 30 minutes

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YOU WILL NEED:

120g single cream

180g Gorgonzola Dolce a good pinch of saffron strands

40g finely chopped black olives salt and pepper

320g penne rigate

!"#Pour the cream into a deep frying pan. Add the Gorgonzola and saffron. Heat gently to melt the cheese.

$"#Meanwhile, boil the pasta in salted water. Drain it when it is al dente and toss it in the cream sauce.

%"#Add a few tablespoons of the cooking water and toss the mixture on high heat. Adding the olives and pepper and toss again, then serve at once.

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I must confess to not having heard of this recipe before. It is a Roman dish derived from the recipes for Amatriciana and Carbonara

Serves 4 Preparation and cooking: 45 minutes

YOU WILL NEED:

200g guanciale, diced

250g Italian sausage, skinned and chopped

350g polpa

salt and pepper

2 teaspoons sugar (optional)

60g grated Pecorino Romano

4 egg yolks

320g rigatoni rigati

TO SERVE: grated Pecorino Romano

!"#Heat a large frying pan and add the diced guanciale. Cook to render the fat then add the sausage and stir fry for about 5 minutes to cook through before adding the polpa. Season lightly and add sugar if you prefer a less acidic sauce (I do). Simmer on gentle heat for 30 minutes.

$"#Place the Pecorino Romano into a bowl and add the egg yolks. Beat to combine.

%"#Boil the pasta in the usual manner and drain it when it is al dente. Toss this in the sauce.

&"#Add a ladle of the pasta cooking water and toss the mixture for a minute on high heat, then turn off the heat.

'"#Add the yolk and cheese mix to the pan and toss the mixture vigorously for a few seconds to combine and melt the cheese. Do not do this over heat.

("#Serve at once, with more grated Pecorino at the table.

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When I made this at home, my son George thought that the paccheri were cannelloni, which deflated my bubble somewhat as it took me quite some time to fill them. I suppose he had a point, though.

Serves 6

Preparation and cooking time: 90 minutes

YOU WILL NEED:

400g paccheri

4 tablespoons extra≠virgin olive oil

1 clove garlic

1 leek, cleaned and chopped

300g fresh Maltese sausage, skin removed and chopped

1 teaspoon tomato paste

a few sprigs thyme

50ml dry white wine

450g mushrooms, chopped finely

400g ricotta

salt and pepper

20g butter

15g flour

200g milk

salt and pepper

nutmeg

grated Parmesan, to top

!"#Boil the paccheri in salted water for just less than half the cooking time, then drain the pasta and cool it in cold water. Set it aside.

$"#Heat the extra≠virgin olive oil with the garlic clove. Add the leek and stir fry to sofen but do not let the leek and garlic colour.

%"#Remove the garlic clove, then add the sausage. Fry for a few minutes using the wooden spoon to break up any large pieces. Add the tomato paste, stir it in and cook out for 1 minute.

&"#Add the thyme and white wine. Reduce the mixture on high heat. It will dry out a bit. Add the mushrooms, mix them in and cook for just a minute or 2 then remove the pan from the heat and set it aside to cool to room temperature.

'"#Add the ricota to the cooled meat mixture. Season and stir till very well mixed.

("#Prepare a white sauce in the usual manner by melting the buter. Add the flour and stir to cook it out before adding the milk slowly, while mixing all the time. Season with salt, pepper, and nutmeg.

)"#Spread some of the white sauce on the botom of a 22cm baking dish then carefully arrange the paccheri, standing up, in concentric circles all around the dish.

*"#Put the filling into a large forcing bag and gently fill up each pasta shape. (This takes a lot of patience). Cover the filled pasta with the remaining white sauce and sprinkle grated parmesan all over the top.

+"#Bake the dish in a preheated oven set to 180 C for 35 minutes till golden brown. Let it rest for 5 minutes before serving.

A quick fix supper which is elegant, tasty and good looking enough to whip up for any last≠minute impromptu guest.

Serves 4 as a starter

Preparation and cooking: 15 minutes

YOU WILL NEED:

80ml extra≠virgin olive oil

200g good quality smoked salmon, chopped a handful fresh parsley, chopped salt and pepper

24 fresh green asparagus spears

340g tagliarini all'uovo grated rind of half a lemon

!"#Bring a pot of salted water to the boil.

$"#Trim the asparagus by snapping away the tougher botom part. Cut the tips off into approximately 3cm lengths then cut the rest of the stalk into small pieces.

%"#Heat the olive oil and add it the smoked salmon. Season lightly, being careful with the salt. Now, add the parsley.

&"#Put the pasta, the chopped asparagus stems and the tips into the boiling water and cook them together for 4 minutes. Quickly drain them and transfer them to the smoked salmon.

'"#Toss the mixture over high heat for a minute. Add the lemon rind and mix it in. Serve at once.

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WHATEVER

CHOOSE

Bucatini were my fatherís favourite pasta shape, and when served with my motherís stuffed artichokes stewed in a rich tomato sauce, he would be in culinary heaven. This is a much simpler recipe, the only common factor being the bucatini.

Serves 4

Preparation and cooking: 40 minutes

YOU WILL NEED:

300g diced aubergines

3 tablespoons extra≠ virgin olive oil

salt and pepper

300g soft ricotta cheese

2 tablespoons milk

80g toasted pistachio nuts, chopped 360g bucatini

!"#Heat the oven to 190 C. Place the diced aubergines onto a baking sheet and coat with the extra≠virgin olive oil. Season, then bake uncovered for about 20 to 25 minutes till cooked through and browned. Keep warm.

$"#Beat the ricota in a large bowl with the milk and season with salt and freshly milled pepper.

%"#Boil the paccheri in plenty of salted water till al dente then drain, reserving some of the cooking water. Working fast, transfer the cooked paccheri to the beaten ricota and mix well. Add a litle of the cooking water to just loosen the ricota.

&"#Add the pistachio nuts and serve, topped with the warm roasted aubergines.

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THE TASTES OF AUBRAC

Grounded and shaped by the terroir of his home in Aubrac, Brasí cuisine is internationally recognised as one of the most influential in the world, particularly for having raised vegetables and herbs to an art form. These recipes capture the deeply rooted terroir and mission of his cuisine.

Text by Pierre Carrey

Bras: The Tastes of Aubrac, by SÈbastien Bras, with texts by Pierre Carrey.

Published by Phaidon Press, €49.95 £39.95, www.phaidon.com

In 1978, SÈbastien Brasí father Michel inherited a small restaurant from his own mother in Aubrac, a beautiful, secluded region in the South of France. In 1992, Michel Bras opened Le Suquet, with stunning views overlooking the countryside and the village of Laguiole. The restaurant quickly gained two Michelin stars and international recognition and Michel Bras invented what are now his signature dishes, including the chocolate coulant , a melt≠in≠the≠middle, chocolate fondant; and the gargouillou , a tribute to nature assembled from around sixty vegetables, herbs, leaves, and flowers. In 2017, SÈbastien Bras stunned the culinary world by handing back the two Michelin stars held by the restaurant a drastic move to protect his creative freedom and his chosen way of life.

Laguiole is where SÈbastien Bras grew up and where he now calls home. It

is the place where becoming a chef was a foregone conclusion. Though widely travelled and having trained with his father, Michel, and top chefs including Pierre Gagnaire and Michel GuÈrard, in 2009 SÈbastien took the reins at Le Suquet, creating his own signature dishes inspired by his travels in North

Africa, South America and Asia, ofen in desert regions, from where he brings back spices and flavours to be mixed with Aubrac plants.

Grounded and shaped by the terroir of his home in Aubrac, Brasí cuisine is internationally recognised as one of the most influential in the world, particularly for having raised vegetables and herbs to an art form. These recipes capture the deeply rooted terroir and mission at Le Suquet: foraging, the restaurant garden where over two hundred different specimens of plants are grown, all sorts of shoots, stalks, roots, vegetables and fruit trees, puting vegetable≠centric dishes at the heart of the menu.

Taste&Flair note some of these recipes call for agar≠agar, a plant≠ based gelatin derived from red algae (seaweed). You will find this in health food and vegan shops.

Spring flowers in the countryside near Le Suquet

Photo by Jean≠Louis Bellurget

Michel & Sebastien Bras PhotobyBenjaminSchmuck

White soup with aged freerange bacon, roasted shallot and grilled hazelnuts

ìInstitut de Beauvaisî is one of the oldest potato varieties. Its high starch content makes it particularly suitable for soups and purÈes and its very white flesh is perfect for this recipe. It has a lot of eyes, however, which makes it rather tedious to prepare.

NOTE Clarified buter keeps beter and withstands a higher cooking temperature than regular buter.

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Wash the potato cubes. In a cooking pot over a medium heat, place the vegetable stock, potatoes, carrot, onion, leek and ham hock. Cook for 30 minutes. Remove the aromatic garnish (carrot, onion, leek, ham hock). Add the buter and cream, then blend everything, in a mixer or using an immersion blender. If necessary, add a litle vegetable stock to thin it: the dry≠mater content of the potatoes may vary depending on when they were harvested and how long they were stored. The consistency of the soup should be that of liquid cream.

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Melt the buter in a bowl in a bain≠marie and then leave it to rest for 10 minutes. The watery part of the buter (casein and whey) will setle at the botom. Keep only the top part, which is transparent. You should be lef with around 200 g clarified buter.

Peel and wash the potatoes. Using a suitable machine, peel the potatoes into thin strips and put them in cold water. Bring a large saucepan of salted water to the boil and blanch the strips for 45 seconds, then immediately cool them under cold water. Drain them on paper towels. Preheat the oven to fan≠assisted 110∞C. Arrange the potato strips on a sheet of greaseproof paper, forming a rectangle of 50 × 20 cm. Brush them with clarified buter and cover them with a second sheet of greaseproof paper. Using a sharp knife, cut 4 long rectangles of 5 × 20 cm. Insert these rectangles into a spiral≠shaped stainless≠ steel mould. Bake for 2 hours. Check the colouring they should not be too dark and adjust the time and temperature if necessary. Unmould, remove the greaseproof paper and leave to cool. Set aside in a very dry place.

YOU WILL NEED:

200 g ëInstitut de Beauvaisí potatoes, peeled and cut into large cubes

1l vegetable stock

60g peeled and sliced carrot

60g peeled and chopped onion

60g leek, white part only, finely chopped

150g ham hock, cut into large cubes

100g butter

100g whipping cream

FOR THE CLARIFIED BUTTER:

250g butter

FOR THE POTATO SPIRALS:

4 large ëInstitut de Beauvaisí potatoes

FOR THE BACON MOUSSE:

60g aged free≠range streaky bacon

250g whipping cream

Salt, to taste

FOR SERVING:

2 peeled shallots

olive oil, to taste

1 teaspoon roasted and chopped hazelnuts

2 spring onions

Cut the bacon into 3≠mm thick slices. In a frying pan, cook it slowly, until lightly golden. In a saucepan, heat the cream over a low heat. Blend the bacon and cream. Strain, season with salt if needed, then pour into a small siphon ted with a gas cartridge. Refrigerate.

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Preheat the oven to 180∞C. Roast the shallots in foil with a drizzle of olive oil for about 30 minutes. Pour the hot soup into a hot soup dish. Place 1 potato spiral in the centre and fill with the bacon mousse to one third of the height of the potato spiral. Add half a roasted shallot and sprinkle with roasted and chopped hazelnuts. Add some spring onion leaves. Serve immediately.

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Photo by Anne≠Claire HÈraud

Roasted duck breast with Vietnamese coriander, kale leaves and Lagardelle sea kale

Over the years, many young cooks of different nationalities have worked in Le Suquetís kitchens. During their stay, it is customary for these young people to present a dish from their home country. SÈbastien has fond memories of Pabloís Mexican mole.

NOTE The mole will keep well for 1ñ2 months, so itís worth preparing a larger quantity.

FOR THE MOLE

SAUCE BASE:

20g mulato chillies

15g pasilla chillies

25g ancho chillies

300g neutral oil

25g fresh breadcrumbs

1.5kg tomatoes, peeled and halved

90g onions, halved

4g garlic

20g almonds

10g pumpkin seeds

20g sesame seeds

3g green aniseed

2g cinnamon stick

2 cloves

3g black peppercorns

15g raisins

35g dark chocolate (85% cocoa solids), grated

1 pinch salt

FOR THE MALLARD

LEG STUFFING:

120g pork jowl

120g reserved mallard leg meat

180g chicken livers, cleaned

60g chicken hearts, cleaned

10g garlic, blanched and finely chopped

40g rocket (arugula), blanched and chopped

80g sourdough bread, soaked, squeezed dry and chopped

3g salt

5g caster (superfine) sugar

1 bay leaf

20g plum liqueur

finely chopped parsley, to taste white pepper and freshly grated nutmeg, to taste

FOR THE MALLARD JUS:

30g butter

150g reserved mallard trimmings

60g onion, thinly sliced

20g garlic, thinly sliced

200g chicken consommÈ

FOR SERVING:

20g butter

4 young kale leaves

12 sea kale leaves

4ñ6 small ëRocamboleí

onions, halved blackberries and blackcurrants, to taste

4 Vietnamese coriander (cilantro) leaves

4 Sansho pepper

leaf sprigs

olive oil, for saut ing

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Preheat the oven to 180∞C. Cut the chillies in half lengthways and deseed them. In a frying pan, heat 150 g of the oil and fry the chillies for a few seconds, then immerse them in hot water for 2 minutes to sofen them. Reserve the oil.

In a frying pan, fry the breadcrumbs in the remaining oil. Grill the tomatoes, the onion and the garlic on a hot barbecue for 3 minutes.

Place the almonds, pumpkin seeds, sesame seeds, aniseed and cinnamon stick on a baking sheet lined with greaseproof paper and toast in the oven. Leave to cool, then add the cloves and black peppercorns. Grind to a powder in a coffee grinder.

In a food processor, blend the raisins with the chillies, grilled tomatoes, onion and garlic, and ground nuts and seeds.

In a frying pan, fry the resulting paste in a litle of the oil reserved from frying the chillies. Add the grated chocolate and salt and stir thoroughly. Set aside.

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Preheat the oven to 140∞C. In a meat mincer with a medium≠ grade chopping blade, mince the pork jowl, mallard leg meat and poultry livers and hearts. Add the garlic, rocket (arugula) and the bread, then mix. Add the salt, sugar, bay leaf and plum liqueur, then season with parsley, white pepper and nutmeg. Stir well to combine, then wrap in cling film and set aside in the refrigerator to firm up.

Once chilled, use a piece of greaseproof paper to roll the stuffing into a cylinder 6ñ7 cm in diameter. Tie the roll at both ends with string. Bake in the oven for 45 minutes. Set aside.

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In a frying pan, heat the buter until hot then brown the mallard trimmings all over. Add the onion and garlic and cook until golden. Pour in the poultry consomme and simmer for 20 minutes. Reduce until it is a syrupy consistency. You can either keep the

onion and garlic in the jus or strain it. Skim off the fat if necessary, then pour the jus into a saucepan, stir in the mole sauce base and warm over a low heat for 2 minutes.

Preheat the oven to 130∞C. In a frying pan, melt the butter over a medium heat and brown the mallard crowns on all sides, until the skin is golden brown. Roast in the oven for 10ñ15 minutes, then lower the temperature to 80∞C: they should be rare. Leave to rest for 10 minutes.

In a saucepan, saute the whole kale and sea kale leaves with a drizzle of olive oil and a few drops of water. At the last minute, add the onions and berries.

Add a smear of mole sauce to a plate and top with a mallard and a 7≠mm slice of stuffing. Add the kale, sea kale, onions and berries. Finish with a Vietnamese coriander leaf and a Sansho pepper

leaf sprig.

Photo by Anne≠Claire HÈraud

Sliced Lézignan sweet onions on a traditional pastry base, with a touch of salt and perfumed marigold

The basis of this tart is a traditional, old≠fashioned pastry. Baked in a deck oven, it has an interesting texture and can be used in sweet or savoury dishes.

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In the bowl of a stand mixer ted with the paddle atachment, combine the flour and buter. In a bowl, combine the sugar, salt, e g g yolk and milk. Incorporate this mixture into the flour and buter in the mixer and mix thoroughly. Refrigerate for at least 12 hours.

The next day, roll out the dough to 2ñ3 mm thick then return it to the refrigerator overnight. This will ensure that the dough keeps its shape while cooking.

Divide the dough into four rectangles, each measuring 17×9 cm and weighing about 40g. Cover with cling film and set aside in the refrigerator.

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Put the garlic, anchovies and capers in a blender and pulse to combine. Add the black olives and pulse again. Finish by gradually adding the olive oil, as though making a mayonnaise. Set aside in the refrigerator until 1 hour before use.

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Peel the onions and slice them as thinly as possible. Season them with salt and pepper. Leave them to sweat for 30 minutes, then drain but donít rinse them. Season with a drizzle of olive oil.

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Using a spatula, spread a thin layer of tapenade on each rectangle of dough, then arrange 70g onions on top. Drizzle over a litle olive oil, then set aside in the refrigerator.

FOR THE TRADITIONAL PASTRY DOUGH:

250g flour

150g butter

5g caster sugar

5g salt

20g egg yolk

50g milk

FOR THE TAPENADE:

1 clove garlic, crushed

25g anchovy fillets in oil, drained

30g capers, drained

260g Greek black olives, pitted

70g olive oil

FOR THE ONIONS:

400g LÈzignan sweet onions

olive oil, to taste

salt and freshly ground pepper

FOR ASSEMBLING THE TART AND SERVING:

100 g field (meadow)

mushrooms, thinly sliced

50 g bottarga

8 pea pods and their flowers

Marigold oil, to taste

Fleur de sel

Preheat the oven to 220∞C. Place a sheet of greaseproof paper on the floor of the oven and place the tarts directly on top. Place another sheet of greaseproof paper and a baking sheet on top. Cook for 15ñ20 minutes. The cooked pastry should be very crisp: the cooking time may vary depending on the type of oven.

When the tarts are cooked, place one on a plate and add a few slices of mushroom. Grate and shave over some of the bottarga. Bring a large saucepan of salted water to the boil and blanch the peas then refresh them in iced water and add to the plate. Finish with a litle fleur de sel, a drizzle of marigold oil, the tapenade and the pea flowers.

Photo by Anne≠Claire HÈraud

Milk jam ice cream with candied onion squash, pumpkin seed praline and sheep’s tome

In Argentina, SÈbastien made the link between dulce de leche and the Aubrac dairy tradition. The combination of squash and tome works well, in the same spirit as the quince paste that ofen accompanies certain cheeses, particularly in Spain.

NOTES For the milk jam, if you donít have a refractometer, weigh your saucepan empty, then add the ingredients as described below and reduce the whole by half. For convenience, you can prepare the milk jam in larger quantities. It will keep for several months.

If you donít have a PacojetÆ, you can use an ice cream maker to make the ice cream. If the apple is organic, you donít need to peel it.

Photo by Anne≠Claire HÈraud

FOR THE MILK JAM: 1.25l milk

280g caster (superfine) sugar

310g liquid glucose

3g salt

3g bicarbonate of soda

50g butter

1.5g pectin

FOR THE MILK JAM ICE CREAM:

480g milk

80g whipping cream

32g caster sugar

100g milk jam

20 g liquid glucose

40g powdered milk

2g ice cream stabiliser

FOR THE ONION SQUASH PASTE:

250g onion squash, roughly chopped

112g apple, peeled, cored and roughly chopped

36g caster sugar

Agar≠agar, as needed (see method)

FOR THE ONION SQUASH SLICES:

20g onion squash

100g caster sugar

FOR THE ONION SQUASH LEATHER:

300g onion squash, roughly chopped

50g caster sugar

3g pectin

FOR THE PUMPKIN SEED PRALINE:

150g caster sugar

250g pumpkin seeds

30g grapeseed oil

FOR SERVING:

100 g sheepís tome, finely grated

Giant hyssop leaves, to taste

Toasted and chopped pumpkin seeds, to taste

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In a saucepan, bring the milk, sugar, glucose, salt and bicarbonate of soda to the boil. Using a refractometer, reduce to 72∞Bx.

In another saucepan, combine the buter, pectin and 36g water and heat to 60∞C. Add to the previous mixture and reduce again to 72∞ Bx. Blend with an immersion blender and set aside.

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In a saucepan, bring the milk, cream, sugar, milk jam and glucose to the boil. Pour the mixture into a blender, blend well, then add the powdered milk and ice cream stabiliser, while continuing to blend. Leave to cool, then transfer to a Pacojet bowl and freeze.

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Put the onion squash, apple, sugar and 21g water into a saucepan and cover with a lid. Cook over a medium heat, until the squash and apple are tender. Transfer the mixture to a food processor and blend until fine. Press the purÈe through a sieve so that the mixture is very smooth. Weigh the purÈe and stir in 0.7% of its weight in agar≠agar. Return the mixture to a pan and continue cooking for 30 seconds, then remove from the heat. Pour onto a baking sheet lined with greaseproof paper.

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Using a mandoline, cut the onion squash into thin slices. In a saucepan, combine the sugar and 400g water and bring to the boil to make a syrup. Candy the squash slices by pouring the boiling syrup over them. Leave to cool, then reheat the syrup and pour over the squash slices a second time.

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Preheat the oven to 70∞C. In a saucepan, combine the squash with 35g of the sugar and a litle water. Cook gently until the squash has sofened and can be purÈed with an immersion blender, adding more water if needed so the mixture doesnít stick to the botom of the pan. Combine the remaining sugar and pectin, stir into the purÈe and boil for 2 minutes.

Spread the paste onto a silicone mat to 1mm thick and bake for 45 minutes. Remove from the oven and increase the oven temperature to 170∞C.

Leave to cool, then gently peel the ëleatherí off the mat and crumple it loosely into four random bulky shapes before it cools. Return the shapes to the oven to dry and crisp up for a few minutes.

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In a saucepan, heat the sugar and 40g water to 121∞C. Stir in the pumpkin seeds to coat them thoroughly with the syrup and continue to stir while heating: the sugar will gradually recrystallise. Continue cooking until you have a caramel. Leave to cool. Transfer the mixture to a blender and gradually incorporate the oil while mixing to obtain a very smooth paste.

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Sprinkle some tome over a plate. Using an apple corer, cut cylinders from the onion squash paste and arrange them upright on the plate. Add the candied squash strips and the squash leather shapes. Add a quenelle of milk jam ice cream. Decorate with the giant hyssop leaves and pumpkin seeds.

Poached rhubarb with lemon, fouace and orange-blossom cream

This recipe is inspired by a dessert that SÈbastien created during his early years at Le Suquet. It is a memory that he holds dear, because it was the first dish of his that Michel agreed to put on the menu, without changing anything.

NOTES Costmary has long, feathery leaves, a biter taste and a mint≠like balsamic aroma. Fouace is a brioche≠style bread flavoured with orange blossom.

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In a saucepan, heat the sugar and glucose to 163∞C, stirring regularly. Pour the syrup onto a plate covered with greaseproof paper or onto a silicone pastry mat. When cooled, break it into the bowl of a blender and blend to a powder.

Preheat the oven to 150∞C. Place four 10×6.5 cm cookie cuters onto a baking sheet covered with a silicone pastry mat. Using a conical strainer, sprinkle the powder into the cookie cutters. Bake for 5ñ6 minutes, until translucent like glass. Remove the pastry mat to a work surface and leave to cool. Using a small spatula, loosen the squares of opaline.

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In a saucepan, combine the sugar with 400g water and bring to the boil to make a syrup. Add the lemon juice and zest, lower the heat and cook for 5 minutes. Poach the rhubarb pieces in the syrup over a low heat until they begin to sofen. Leave the rhubarb to cool in the syrup.

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Preheat the oven to 180∞C. In the bowl of a stand mixer ted with the paddle atachment, beat the sofened buter with the sugar for 1 minute until pale. Add the sifed flour and baking powder, then add the eggs one at a time. Gently incorporate the rest of the ingredients using a spatula. On a baking sheet lined with greaseproof paper, spread the mixture out to a thickness of 3ñ4 mm. Bake in the oven for 10 minutes.

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FOR THE OPALINE:

200g icing

100g liquid glucose

FOR THE CRYSTALLISED

LEAVES:

4ñ8 costmary leaves, wiped with a damp cloth

1 egg white, beaten icing sugar, for dusting

FOR THE POACHED RHUBARB:

100g caster sugar

40g lemon juice

2g lemon zest

3 large rhubarb stalks, cut into 10 cm pieces

FOR THE CITRON CREAM:

140g fromage blanc (or quark or Greek yogurt)

2g citron zest 20g lemon juice

16g icing sugar

FOR THE CROUSTILLANT:

75g butter, softened

112g caster sugar

30g flour, sifted

2.5g baking powder

100g eggs 37g cocoa nibs

75g blanched almonds, chopped

25g candied citron

30g fouace or brioche, crumbled into pieces

FOR THE FOUACE CREAM:

100g fouace, cut into 1 cm slices

1g sheet gelatin 150g milk

6g butter 2g hazelnut praline

25g caster sugar

20g orange blossom water

120g whipped cream

FOR SERVING:

Thin slices of rhubarb, to garnish

Preheat the oven to 150∞C. Bake the fouace slices in the oven for about 10 minutes, until lightly golden. Leave to cool, then reduce to powder in a blender. Set aside 60g of this powder. Soak the gelatin in a litle cold water until sof, then squeeze dry. In a saucepan, bring the milk, buter, hazelnut praline and sugar to the boil. Stir in the gelatin, fouace powder and orange blossom water. Just before the mixture begins to set (at around 35∞C), stir in the whipped cream. Set aside in the refrigerator.

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Stir all the ingredients together until smooth.

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Make a quenelle of fouace cream and place it on a plate. Arrange the poached rhubarb on the plate and top with an opaline square. Sprinkle with some croustillant. Add some citron cream and crystallised costmary leaves. Finish with a thin slice of fresh rhubarb.

Photo by Anne≠Claire HÈraud

This is SÈbastien Brasí interpretation of the famous recipe created by his father, Michel, in 1980. The summer months, from July to August, are particularly suitable for making this gargouillou. At this time of year, the market is teeming with vegetables and, combined with produce from the garden, the gargouillou assembles more than 120 varieties. In this version, all the vegetables are prepared ëcoldí or lightly grilled or roasted; none are cooked in boiling water. Served cold and seasoned with floral oils, this gargouillou reveals unsuspected flavours. The main principles of vegetable preparation are presented here. A plethora of vegetables, cuts, maceration times, types of vinegars and other pickles are possible: feel free to experiment. Just like at Le Suquet with the classic gargouillou, you will never get exactly the same result twice. This is a ìlivingî dish. Itís up to you to let your imagination run wild: the result will be all the more brilliant for it.

Allow about 100 g vegetables per person

The ingredients and the recipe are on the following pages.

summer gargouillou

‘Raw’

Photo by Anne≠Claire HÈraud

SWEET AND SOUR VEGETABLES:

White chard / Beetroot (beets) / Orange carrot / Ribbed celery / Sugar of your choice / Vinegar of your choice.

Other possibilities: ëGreen Meatí radish / ëRed Meatí radish / ëZlataí radish / ArdËche horseradish

RAW FRUIT AND VEGETABLES:

Green pak choi (bok choy) / Wild strawberries / Yellow beetroot (beets) / Rhubarb / Gooseberries / Spring onions (scallions) / Red beetroot (beets) / Blackcurrants / Peas. Other possibilities: ëJaune du Doubsí carrot / Carrot / Celtuce (asparagus lettuce) / ëLongue de Niceí squash / ëRed Russianí kale / ëWhite Transparentí radish / ëSans Pareilí peas / Sweetcorn / Tomato (beefsteak / ëNoire de CrimÈeí / ëAndine Cornueí) / Tomatillo / Asparagus peas

LACTO - FERMENTED VEGETABLES:

Pink radish / ëRed Meatí radish / Swiss chard / Samphire (sea beans) / Yellow courgette (zucchini) / Daikon radish / Red beetroot (beets) / Yellow bell pepper / Macau artichoke / Onions / Spring water / Salt. Other possibilities: Spring greens / Savoy cabbage / Kale / Sea kale / Turnip / Broccoli / Kohlrabi / ëRose de P‚quesí radish / ëJaune Boule díOrí turnip / ëMilan Rougeí turnip / ëPetrowskií turnip / Armenian cucumber

ROASTED AND/OR GRILLED

VEGETABLES:

ëViolette de Toulouseí aubergine (eggplant) / White beetroot (beets) / Green courgette (zucchini) / Green pattypan squash / Cauliflower / Broccoli / Round courgette (zucchini) / Flavoured oil of your choice (see below) / Wild thyme. Other possibilities: ëCrapaudineí beetroot (beets) / Red beetroot (beets) / ëSucrine du Berryí squash / ëJaune Boule díOrí turnip

/ ëDes Vertus Marteauí turnip

/ ëLongue de Niceí squash

ëTIREDí VEGETABLES AND LEAVES: Cherry tomatoes / Courgette (zucchini) / Bicolour amaranth / Cauliflower heart / Strawberry blite leaf / Celery stalks / Vinegar of your choice. Other possibilities: Malabar spinach / Kale / Sea kale / Red mountain spinach / Spinach

PLAIN SAUT…ED VEGETABLES: Mangetout (snow peas) / Globe artichoke / Olive oil, for sautÈeing

FLAVOURED OILS:

Ladyís bedstraw flowers / Grapeseed oil.

Other possibilities: Elderflowers / Meadowsweet flowers / Bald money (spignel) / Marigold / Broom flowers / Wild thyme flowers / Chives / Lovage / Spring onions (scallions)

BARLEY JUS: 1.5g agar≠agar / 50g barley miso / 150g vegetable stock or water / 2 teaspoons olive oil

RHUBARB VINAIGRETTE:

20g sugar / 200g rhubarb, thinly sliced / 20g sunflower oil / 15g lemon juice / 12g fruit vinegar / 5g salt / 30g agar≠agar paste

ROCKET PASTE: 400g rocket (arugula) / Salt and freshly ground pepper

SPROUTED LEGUMES: Soy beans / Lentils / Alfalfa seeds / Sunflower oil, for frying / Salt

Other possibilities: Quinoa / Spelt / Oats

FLOWERS, HERBS AND OTHER SHOOTS:

4 bunches seasonal plants: Bicolour amaranth / Wood dock / Giant hyssop / Golden Japanese spikenard / Cicely / Bald money (spignel) / Eucalyptus / Field marigold flowers / Nasturtium flowers / Sage flowers / Samphire (sea beans) / Borage / Catmint / Verbena flowers / Begonia flowers / Common valerian / Strawberry blite / Snapdragon / Sansho leaf / Garlic buds / Jacobís ladder flowers / Campanula / Coriander (cilantro) flowers. Other possibilities: Strawberry blite fruit / Purple garlic flowers / Russian sage

FOR SERVING:

4 slices cured ham, fried until lightly crisp

July pickings in the Brasí Lagardelle garden. Over two hundred different specimens of plants are grown here for the restaurant. Photo by Michel Bras

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Peel and wash the vegetables. Cut, grate or shred them as you wish. Prick larger pieces with a needle to facilitate marinating. Place the different vegetables in separate containers.

For the pickling brine, use one part sugar to two parts vinegar and three parts water. The amount of brine you need will depend on the quantity and number of different vegetables.

In a saucepan, bring the water, sugar and vinegar to the boil, then pour over the vegetables. Leave to cool, then refrigerate. The marinating time will vary depending on the texture of the vegetables. Leave to marinate at least until the brine is cool, or for a maximum of 3 days.

Lots of variations are possible you could replace the water with a flavoursome stock, change the sugar for a more or less refined type and/or use flavoured vinegar.

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Peel and wash the fruits and vegetables. Cut them according to the texture desired: shavings, julienne, balls, etc. Ideally, cut the firmer ones thinner and the softer ones thicker. Separate the cabbage leaves from the ribs. Serve radishes whole or cut in half. Cover the prepared fruits and vegetables with damp paper towels to prevent them drying out.

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This age≠old technique enables you to enjoy all types of vegetables throughout the year and the health benefits of lacto≠ fermentation are well known. It is suitable for most vegetables, and how you cut the vegetables will affect not only their texture but also the fermentation time.

Make a brine: in a large saucepan, combine spring water with 3 per cent of its volume in salt and bring to the boil. Remove from the heat and leave to cool.

Peel and clean the vegetables. Using a mandoline, cut them into juliennes of different sizes. Pack the vegetables into sterilised jars and cover with the brine. Cover and leave to take on different flavours and textures.

To vary the colours and tastes of the various brines, you could add a litle curry powder, turmeric or paprika to the jars.

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To add some body to the dish, you can roast some whole vegetables in the oven

with a drizzle of flavoured oil or grill them on the plancha or barbecue. Then, either purÈe them or slice them and season them with wild thyme.

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Tiredí leaves are leafy vegetables that have been seasoned with a drizzle of vinegar of your choice at least ten minutes before serving. Wilted by the vinegar, these leaves add a different texture. You can do the same with a letuce heart, for example.

9.,04%!,($:#5%*#+#$,-.#!% Wash and trim the mangetout (snow peas), leaving the pointy stigma intact. Using a very sharp knife, turn the artichoke and cut it into eight wedges.

In a pan, heat a drizzle of olive oil and saute the mangetout and artichokes. Lightly brown in the hot pan, then add 2 tablespoons of water. Cover, but stir regularly, for 1 minute. Remove the vegetables when they are slightly tender and leave them to cool.

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Clean, wash and dry the ingredients thoroughly. Remove any dead petals and dirt from the flowers. In a saucepan, heat the grapeseed oil to 50∞C. Add plenty of flowers or herbs to the pan, remove from the heat and leave to infuse for 48 hours, or longer, depending on the type of flowers and the flavour you want to achieve. Strain, taking care to separate the oil from the water produced by the vegetation, to ensure beter conservation. As water is heavier than oil, it will setle at the botom of the container. Stored in a cool, dark place, flavoured oil will keep for several weeks. Here at Le Suquet, we prepare lots of flavoured oils: depending on the season, we use thyme, wild thyme, meadowsweet, elderberry, ladyís bedstraw, broom, spring onion (scallion), chives, lovage, etc. For the best results, choose mature herbs and flowers.

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In a saucepan, stir together 200g water and the agar≠agar. Bring to the boil, then leave to cool and set. Blend the mixture to a smooth paste. In a separate saucepan, combined the barley miso, the vegetable stock or water, olive oil and 20g agar≠ agar paste. Stir gently, until you have a thickened jus. Reduce a litle, if necessary. Leave to cool.

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In a saucepan, combine the sugar with 200g water and bring to the boil. Put the sliced rhubarb in a saucepan and pour the water and sugar over it, then simmer for 10 minutes. Strain, reserving the poaching liquid and seting aside the rhubarb for another recipe. Mix 200g of the poaching liquid with the oil, lemon juice, fruit vinegar and salt. Whisk in the agar≠agar paste to thicken the vinaigrete slightly.

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Bring a large saucepan of salted water to the boil and blanch the rocket for 30 seconds. Cool in iced water, then drain thoroughly. Blend to a smooth paste. Thin with a litle water if necessary. Season to taste.

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Soak the beans and seeds in water according to the instructions provided by the supplier or on the package. Drain and rinse. Spread the seeds out on paper towels and cover them with slightly dampened paper towels. Leave to germinate until shoots are visible. Dry them lightly, then fry in oil at 170∞C. Lightly season and set aside on paper towels to absorb any excess oil.

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At the height of summer, the garden and markets offer numerous plant varieties with an abundance of colours and flavours. The intensity of their flavours may vary depending on where the plants are from, the soil they are growing in, how much water they have received, and so on, and quantities may need to be adjusted accordingly. Your palate will help you determine the right proportion of each of the plants and flowers to use.

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Mix together about 100g of vegetables in various forms: pickled, roasted, lacto≠ fermented, etc. The idea is to assemble a multitude of varieties and to play with different textures, preparations, shapes, colours and so on. Season the vegetables with the rhubarb vinaigrete. Put a litle barley jus and some rocket paste on a plate. Add a thin slice of crispy cured ham and the sprouted legumes, then top with all the vegetables. Finally, sprinkle the gargouillou with flowers and aromatic herbs and season with the flavoured oil. Admire, then enjoy.

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With their imposing grandeur, rich architectural heritage, and fascinating history, few buildings command as much reverence and admiration as palaces. And Palazzo Parisio is no exception. Following the recent refurbishment of its restaurant, this stunning palazzo is delighting visitors anew. We pulled back the curtain to bring you a privileged peek into the inspiration behind it all, in a conversation with appointed Maltese architects and project managers Paul Cuschieri and Malcolm Abela Sciberras from Rebirth Design Studio, and Palazzo Parisioís Baroness Justine Pergola.

Photography Malcolm Abela Sciberras.

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Onentering the restaurant, you are immediately struck by the chic elegance befi ting a formal venue where special occasions are celebrated. This, however, is infused with a warm, comfortable vibe that makes it equally suited to a rendezvous with friends the perfect seting in which to enjoy delicious food in excellent company.

Built in the 18th Century, Palazzo Parisio is a Grade 2 scheduled property overlooking the Naxxar Parish Church square. It came to be owned by the Marquis Scicluna the following century and has remained in the family since.

ìI remember discussing the project with the late Baroness Ramsay Scicluna and Baroness Justine Pergola years ago,î reminisces Paul, Founding Partner and Designer≠ Architect at Rebirth. ìIt was clear to see how close to their heart the Palazzo was.î

In fact, to Justine, Palazzo Parisio is far more than a business. ìEver since I was a litle girl, the Palazzo was this beautiful, dream≠like place where I would play. Itís where I grew up, so it really is my home.î

The design of the project, which was prompted by a previous rebranding exercise, was developed by Italian Architect Antonio Girardi, while Rebirth acted as the Malta≠based architects at Justineís request. Camilleri & Cuschieri was the engineering consultancy firm that collaborated with Rebirth to design, supervise and manage all the electrical and mechanical works for the project.

Justine shares that she and her mother had already worked with Paul on several other projects over the years. ìChoosing Rebirth was a no≠brainer. There was never any doubt of their skill, good taste or professionalism because they always just got us, so we knew they were the best fit for this project. I also could not imagine anyone else pulling off Architect Girardiís plan the way they did. I feel like they were the only ones who could make it work, thanks to Paulís wonderful vision and dedication. I trusted them completely, and the results show I was right for doing so.î

Left: Custom floor lamps, furniture and luxury cushions work together to create a cosy, inviting interior across each room. Hand≠painted murals take on 3D form in live plants scattered throughout, while automatically adjustable lighting accommodates different times of the day.

Right: Formal yet inviting boardroom finished with a custom marble table (marble supplied by Rabat Marbles), original Murano glass chandelier, and hand≠painted wall murals and borders, which are brought to life by two large Kentia palms that temper the formality of the room.

Rebirth Co≠Founder Malcolm explains, ìIn our capacity as architects and designers we were responsible for detailing all the required works and had to select, source and programme trades, services and finishes. As designers, on the other hand, we also appreciate the significance of detail and design, and so made sure that the proposed design was well understood and executed.î

Justine explains that the concept of the restaurantís refurbishment centres around bringing the beautiful outdoor grounds inside. ìWe took inspiration from our lovely gardens, which are one of the Palazzoís key atractions. As you walk into the restaurant, you enter this botanical sanctuary that feels like an extension of the garden itself.î

The effect was achieved through a soothing and natural colour palete of pale sage green shades, the introduction of large indoor plants, and the addition of hand≠painted murals stunning masterpieces in their own right to create unique feature walls.

ìPersonally, the murals are one of my favourite outcomes of the entire project,î Paul says. ìIt is not a finish that clients request every day, so it was a fascinating privilege to observe and work with master crafsmen and artists as they used their skill to give these old walls new life.î

The restaurantís curated look came from declutering the space and embellishing it with new details from redressing rooms with lavish curtains and bringing in exclusively designed furniture, to laying down terrazzo floors and adorning walls with ornate geometric paterns, which tie in with the murals and reflect the style of the rest of the Palazzo. Original marble flooring was also uncovered and restored to its former glory.

Dated, inefficient lighting was replaced with a modern lighting system, which features adjustable light intensity and gorgeous tings designed by Architect Girardi and manufactured in Italy.

The combination of high≠end finishes, luxury materials and custom furnishings down to the garden≠themed wallpaper and elegant wainscoting in the bathrooms all come together in an aesthetic that is as elevated as it is warm and inviting.

In Justineís words, ìThe Palazzo has now entered the 21st Century with a new vision. It enjoys a contemporary style that retains its original classical elegance, and has moved with the times without losing its true historical nature. The results have almost exceeded my expectations.î

Paul, for his part, feels excited about the future of Palazzo Parisio. ìWe are truly grateful to Baroness Pergola for trusting us with this special project and are exceptionally proud to have been part of a renovation (or rebirth!) that respects the integrity and grandeur of such an iconic venue.î

Indeed, while the memory of its rich past will live on within its walls, Palazzo Parisio is now ready to launch into the next phase of its distinguished legacy.

With all works at Palazzo Parisio now wrapped up, the Rebirth team is currently engaged in several other prominent projects across the islands. For more information about their extensive work, visit www.rebirth≠ design.com

Above: One of the restaurantís grandest rooms with the original vaulted ceiling enhanced by new lighting and original marble flooring restored to its former glory. Subtle Kentia palms peering through the curtains introduce life and movement, maintaining an indoor garden experience.

Left: Custom furniture designed by Antonio Girardi, and constructed and upholstered by Interior Outfitters. Garden concept achieved through plants, choice of colours, and hand≠painted wall murals. Accessories add pops of colour and large mirrors enhance lighting.

A NICHE

Interior design and bespoke furnishing: Martina Fenech Adami, Studio NICHE (formerly known as Kco Design), Photography: Ramon Portelli

IN TIME

hen the popular rock bar, Muddy Waters, shut down once its lease ran out, the site lay unused for a few years, debris accumulating in an interior that was once teeming with life. Now in the capable hands of Martina Fenech≠ Adami of Studio NICHE, itís been transformed into a stylish co≠working space designed to atract creatives.

ìMy vision for NICHE is the result of a series of events that influenced my professional journey in recent years,î Martina says. ìI left full≠time employment to establish my own design company, Kco Design. Not long aferwards, the Covid≠19 pandemic kicked in. Its impact was unprecendented, disrupting traditional paradigms of work, office environments, and the conventional 9≠5 routine.î

The disruption wrought by the once≠in≠a≠century pandemic played a pivotal role in bringing NICHE to life. The notion of assigned desks in a permanent location, used within a rigid and regular time frame is now questioned. What has caused a loss of security to some has meant the unleashing of personal freedom for others.

ìMY VISION FOR NICHE IS THE RESULT OF A SERIES OF EVENTS THAT INFLUENCED MY PROFESSIONAL JOURNEY IN RECENT YEARSî

Natural light from the front door is complemented by artfully chosen and carefully positioned light fittings from Elektra.

new eraís emerged,î Martina says. ìItís filled with opportunities for freelancers, creatives and digital nomads, and co≠working areas. These elements are interlinked. Theyíre shaping the future of work. Theyíve also created a need and demand for spaces where flexible working and collaboration can thrive.î

Martina saw the transformative shif as an opportunity to create a co≠working space that could be a hub for a networked creative community as well as a place that is both base and showcase for her own work. ìI was inspired to bring together the concept of a home away from home but with the ambiance of a coffee house with a social and welcoming atmosphere.î

The site is on the edge of the village core in St Julians, part of a larger building that is being renovated and repurposed. ìItís basically a garage, so there is just one source of natural light the front door,î Martina says. But it faces the sea on Balluta Bay with a view of the iconic Carmelite church flanked by rows of nineteenth century townhouses.

Style and functionality blend seamlessly thanks to bespoke joinery designed by studio niche and manufactured by Eurocraft Malta. Electrical, mechanical and plumbing services installed by EPM Solutions are shielded from view, giving the interior a clean look.

hat single natural light source with its singular view was a crucial parameter at the start of the design process. The internal layout was planned to create a central light tunnel, facilitating natural illumination and circulation. The space is divided into different blocks of color and texture, adding intrigue through the varying volumes within the tunnel≠like structure, and defining areas for different purposes.

Breakout spaces on either side of the room provide a variety of cozy corners for workNICHE users to find the working environment that suits them best at any particular time. ìThese litle havens allow you to focus on your tasks while enjoying the right ambiance and noise levels tailored to your needs,î Martina says.

To bring her vision to life, Martina has meticulously designed every detail, from the overall spatial geometry, including a bespoke sofa area and bar, to the selection of materials. ìIím a client of my own co≠working space,î she says, ìNICHE was an opportunity showcase my design work and also to design a flexible space that works for me and for other creatives. I spent countless hours detailing each bespoke piece and to curate the materials and furnishings used throughout.î

Colour defines the separate zones throughout Niche. In the kitchen area, sleek black appliances from Oxford House are offset by the vermillion of the partitioning.

The custom≠built work bench can double up as a bar. The colour of the richly veined material supplied by Rabat Marbles echoes the colour accent of the floral wall paper and the vermillion of the partitioning in the inner kitchen area.

he furnishing is carefully crafed to perfectly suit NICHE, ensuring a seamless blend of style and functionality. The library unit enhances the interior aesthetic and serves a dual purpose: it provides plentiful storage space and also acts as an elegant partition for closed meetings.

Embracing the spirit of William Morris prints, the interior is infused with playful and organic touches. Each design element pays homage to the past while creating a visually captivating atmosphere to spark creativity and inspiration. Wood, fabrics, and vibrant textures have been skillfully used to create a cosy yet inspiring environment. In the central partition of the library unit, fluted glass allows natural light to flow through, while maintaining privacy in the meeting space once the doors are closed.

Now that itís all come together, how does Martina feel about NICHE? ìThe transformation of a bar into a welcoming co≠working space is not only a physical display of my design work,î she says. ìIt also reflects my dedication to creating an environment that inspires and fosters collaboration and personal growth.î Now, thatís something worth experiencing.

@workniche.mt @studioniche.mt

Best known as one of the main lighting retailers and bespoke lighting design providers on the island, ESS has just celebrated the grand opening of their newly extended lighting showroom. Welcoming a variety of designer lighting brands that push the boundaries of creativity and innovation, the new ESS showroom extension is a must≠ visit for homeowners and interior design enthusiasts.

Spread over a staggering 1000 square metres, one can expect to find limitless inspiration from some of the most exquisite lighting designer brands all under one roof. In the realm of light and decor, you will also come across ingenious

lighting creations that are celebrated icons in the design world. From eye≠catching pendants inspired by celestial bodies to sleek designs that blend in seamlessly, the new showroom extension is nothing short of a lighting design museum.

With over 30 lighting brands to choose from, ESS offers more than just designer lighting. Visitors can also expect to find a vast range of affordable lighting and decor options that follow the latest interior design trends.

Beyond lighting and illumination, the new ESS showroom also houses one of the widest selections of sockets and switches, available in multiple finishes. From

Georgian brass to the ultra≠modern mate black finish, you can find wiring accessories that will complement interior trends from the past, present, and future.

In addition to the endless choice of lighting solutions, from decorative to professional architectural solutions, visitors are sure to be captivated by a new range of premium outdoor furniture from Vondom. Renowned for cut ing≠edge design, Vondom collaborates with world≠ famous designers like RamÛn Esteve and Eugini Quitllet to create beautifully crafed collections that will elevate terraces, pool sides, and any outdoor seting to a completely new level.

In addition to the endless choice of lighting solutions, from decorative to professional architectural solutions, visitors are sure to be captivated by a new range of premium outdoor furniture from Vondom.

So what are you waiting for? Visit the newly inaugurated showroom to discover the latest collections from Slamp, Foscarini, Lodes, Flos, Artemide, Davide Groppi, Icone Luce, Roger Pradier, SLV, Ilmas, Vondom, Linea Light, Novalux and much moreÖ

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Cool steel, warm wood, and clean walls in neutral white accented by carefully chosen pieces of colourful art are an appropriate look for a renovated apartment in a 1960s block. Though the building did not include any particular architectural points of interest, elements such as the external and internal apertures have been retained. ìThis was an important decision in our development of the concept for the space. We wanted the legibility of the 1960s apartment to carry through,î says the architect Nick Tonna. ìBy retaining some of the original elements and integrating others from that era, such as lighting and furniture, we aimed to preserve the space's original character.î

The property had been vacant since the 1990s and was only put on the market once the division of its shared ownership had been resolved. It was purchased by its current owner in what appeared to have been its original state; however, as with apartments built in the 1960s, the organisation of the rooms on plan and their relation to the buildingís elevations meant it was well designed. ìThe interior enjoys a good amount of natural light which we prioritised throughout the design development,î Nick Tonna says. The design brief revolved around creating a clean and minimal aesthetic which respected the context of the existing building, while working within a budget. ìThe apartment building is located within the village core, but in terms of the context for the interior design, it is a mid≠ century one and we prioritised this context when designing the interior,î Tonna adds.

ìThe main challenges on this project really revolved around the clientís limited budget, but as with most challenges, they can ofen lead to the best projects. In this case, it meant that the budget needed to be focused on a few meaningful gestures and clever detailing. We adopted a 'less is more' approach, which was well≠suited to the project brief.î

The major structural alterations focused on opening up a series of rooms to create an open plan living area, bringing more natural light into the interior. The kitchen, utility and pantry areas set at one end have been planned in detail to allow for efficient use of space while safeguarding the minimalist vision for the project. ìWe micro≠planned the areas and concealed the pantry and utility area behind the kitchen,î Nick Tonna says. ìOne of the kitchen cabinet doors leads to the larger pantry, shielding it from view when the door is closed.î

Monolithic floors, white walls and black detail elements provide a flexible back≠ drop throughout the interior. The clean lines of the bathroom by WaterArt Concepts complement the design vision.

The major structural alteration was the removal of partition walls to create an open≠plan kitchen, dining, and living area. The kitchen from Oxford House was micro≠planned to complement the minimalist look that defines the interior.

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As with most projects, the aesthetic of the interior was shaped not only by the project brief itself but also the relationship with the client. ìWe used the words ì60s minimalismî because it really is a marriage of the two,î Tonna says. This was achieved by a combination of factors including the architectural details, such as the way the air conditioning system and light tings are integrated as two slots cuting across the space, the choice of materials and finishes in the use of white walls and monolithic polished concrete floors throughout, and the careful curation of the ted furniture, loose furniture, and tings.

ìThe project is the culmination of a holistic vision for the space that was carried through into all the details,î Tonna explains. ìThis was supported by a passion for art and design of that era which we shared with the client. I wouldn't say we have done anything truly innovative. On the contrary, actually, the project works because of the simplicity of decisions that were taken.î

Contemporary pieces, including the sofa from BoConcept, are mixed with authentic 1960s pieces, such as G Plan furniture, once manufactured in Malta by Joinwell. The air conditioning by Cutrico is unobtrusively and carefully detailed into the suspended ceiling, forming the characteristic slits.

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ìClever detailing of the air conditioning into the suspended ceiling and the integration of hidden doors into the kitchen are important design elements but not radical innovations. They do, however, underline an important consideration which is where I feel projects ofen fall short. We established a clear vision for the property and, crucially, did not compromise on it. Projects ofen fail because clients and architects compromise along the way. While certain decision may seem insignificant at the time, ultimately, this compromise shows through in the end result.î

The material choices were driven by the project brief but are very much in line with VINCI Architectsí choice of palete and style as a practice. As Tonna says: ìMonolithic floors in polished concrete, white walls throughout and black detail elements provide a flexible back≠drop for us to curate the space. They allow the furniture, lighting, art, and other elements to take center stage. We are very proud of the result and how the vision carried through to the finished project.î

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LET YOUR STYLE BE YOUR GUIDE

Decadence, Now.

The zeitgeist of the late 19th century decadent movement has reached well into the 21st century. We take a look back at the recent Decadence, Now. exhibition and arts programe with the artist and exhibition curator, Andrew Borg Wirth.

Photography: Sean Mallia, Elisa von Brockdorff

The decadent movement is traditionally associated with morbidity, a culture of artificiality, exoticism and aestheticism, themes that drove its lasting influence on twentieth≠century culture. City of Art, a new platform founded by pianist Lucia Micallef, set out to challenge that notion, reinterpreting decadence as a zeitgeist which has reached well into the twenty≠first century, through ìDecadence, Now.î, an exhibition of artworks, illustrations by Rebecca Bonaci, objects, music and paraphernalia accompanied by a programme of salon recitals, lectures, and social gatherings. In keeping with the theme of ìDecadence, Now.î the Salons, curated by Lucia Micallef and Gillian Zammit, and staged by Denise Mulholland, showcased some of the most beautiful repertoire in the German, French and Italian canons, as well as original works by Karl Fiorini commisioned specifically for the project. These explored the passions, the ecstasies, the risks and the consequences of decadence.

As ìDecadence, Now.î drew to a close recently, it seems appropriate now to start at the end, from the grand salon at Palazzo de la Salle that was dedicated to Paris. Decadence is drunkenness took the visitor full circle back to Paris, the birthplace of decadence, a city teeming with artists where the ideas of Charles Baudelaire and his contemporaries first began, and where the words of the Symbolist French poets found a new life in the music of Claude Debussy and others.

ìHere, we chose to investigate absinthe, a zeitgeist at the time, an artefact, a spirit, a symbol of what was going on,î says Decadence, Now.ís curator Andrew Borg Wirth. ìIntoxication is a recurring subject for the decadent movement. Absinthe is spoken about as being the heart of artistic creation, embodying the spirit of the time. Dubbed the green fairy, a poison and a devil in a green botle, absinthe is something of a cult object, an ideal. Intoxication and being drunk are the subjects of poems by Charles Baudelaire as early as 1864, and the figure of the absinthe drinker is a recurring subject interpreted by, among others, …douard Manet, Edgar Degas, Vincent Van Gogh and Pablo Picasso. Le fÈe verte seems to be a zeitgeist which motivated so much creativity and it is the subject of this artwork which I produced for this show.î

Le fÈe verte (ìthe green fairyî), was first produced by Madame Henroid in the Swiss town of Couvet near Neuchatel in the late 18th century. Originally prescribed to French soldiers as medication, the herbal alcohol atracted poets, artists, and authors who were drawn by its potency for intoxication and its consequent impact on their creativity. Preparing absinthe was a ritualistic performance in which the drink itself was physically altered, foreshadowing the altered state of the drinker. By the 1860s líheure verte (ìthe green

hourî) was an accepted part of the day, when absintheurs would meet in Parisan caf!s to engage in the ritual of drinking, a cultural habit that submerged a swathe of artists, writers, poets, and thinkers in hallucinogenic inspiration. Tragically, the frequent consumption would lead to addictive craving, which ofen resulted in degeneration and early death.

From the walls of the grand salon at Palazzo de la Salle, the drinker in FÈlicien Ropsí La Buveuse díAbsinthe gazed blankly, resting at a barís threshold and looking outwards at the viewer as though the burden of time did not faze her, a luxury guaranteed only by the intoxicating green fairy. Next to the frame, a collection of absinthe spoons recalled the technique used to tackle the drinkís mild biterness. A sugar cube would be placed on top of the specially designed sloted spoon, which would be placed on a glass of absinthe, the notch in the spoonís handle resting on its rim Iced water would be dripped out of the absinthe fountain onto the sugar cube which would slowly and evenly displace into the absinthe, dissolving the sugar cube. The alcohol would assume cloudy wafs until the green was altogether different. Both metaphor and experience, consuming the green fairy was an indulgence of the senses, embodying the Decadentís aspiration to challenge reality and subvert ways of seeing.

Thirty, the artwork that Andrew Borg Wirth created for the show returns to Man Rayís photograph of Luisa Casati, the Italian heiress, muse and patron of the arts in the early 20th century, which was displayed in another part of the exhibition. Thirty is a bank of self≠portraits that you do not remember taking but in which you recognise yourself persisting, not withering. Like water in an absinthe≠making vessel, identity only becomes murkier and murkier,î Andrew explains. ìThe whole artwork is about ways of seeing, of perception and how absinthe is really something which questions that and challenges it. In this work, as in the other three, you really begin to understand the ìNowî part of the exhibition title, where we investigate moments and fragments of our contemporary existence, and these create artworks which emulate the spirit of the decadent period.î

In ìDecadence is Danceî, another part of the exhibition, two states are implied: before and afer the instance of subversion, and all is wrapped in dance. ìIn this room weíre presenting the idea that decadence is dance around a very important artefact loaned by the Museum of Lower Austria the fan of the last Empress of Austria of the Hapsburg empire, Empress Zita,î Andrew says. ìIt was very important for us to show elements of the applied arts, the decorative arts, but also to speak about the cultural phenomenon at the time, the end of empire and also the rise of the waltz as a subversive tool in Austrian society.î

The style of the Aesthetic Movement is disseminated not only through works of artists like Edward Burne≠Jones and his medievalist overtones but also through the decorative art objects which reference classical antiquity and Early Renaissance art. The later is exemplified in the Empressí fan. If decadence is the other side of the aestheticistís coin, exploring, at further depth, the idea that the pursuit of beauty is unending, ultimate and reason enough to live and even to die, the fan presents interesting metaphoric potential. Its two sides symbolise the dichotomies of life and death, of good and evil, and the idea that the aesthetic movement and the decadent movement are two sides of a coin, something thatís integral to the work of Luke Azzopardi that is exhibited in the same space.

Azzopardiís two≠sided, large format photographic portrait reinterprets the detailed work of the Empressí fan in a garment he made specifically, and also created an experience around which audiences were able to see the other side of the characterís portrait, in an image depicting a very different fan, the characterís changed atitude.

ìDecadence is≠î explored the idea of líart pour líart, art for artís sake, and the idea that the literary, the artistic, the musical and the poetic overlap. A Catalan journal, PËl & Ploma, published by Ram!n Casas, the artist behind ìDecadent young woman. Afer the danceî, was the point of departure for a contemporary artwork by Maria Theuma which talked about art for artís sake, making the case for the fact that decadence just is. PËl & Ploma translates to ìhair and featherî and can also be interpreted as ìthe brush and the penî, symbols of visual and literary art.

ìItís a really important artefact that ushers in Catalan modernism in Spain,î Andrew explains. ìWe also chose to present an artefact in this room which speaks about daily life at the time, about the familiarity among the subject of artists.î Heís referring to a garment loaned to the exhibition by a private collection. ìAn important aspect of what we are doing here is bringing in objects not only from museums and galleries but from peopleís own collections and juxtaposing them with the artworks within a new context,î he adds.

ìMaria Theumaís artwork ìFor Its Sakeî literalises PËl & Ploma, presenting for the audiences an abundance of hair and a series of feathers. In this, she reverses her current artistic practice (writing), creating visual art inspired by a literary artefact.î

In ìDecadence is dramaî, the second part of the exhibition, the point of departure was Maltaís Royal Opera House, which has lain in ruins ever since it was devasted by an aerial bomb atack in World War II. ìThe Royal Opera House was investigated here as a location for audiences

to encounter decadence from across the continent. We did this to understand the emergence of characters as an important part of the decadent movement,î the exhibition curator explains. ìThe ìSalomaniaî which took over the continent at this time is expressed in so many works. We chose to include a painting which has a female character at its heart. While alluding to action happening elsewhere, it really draws the atention of the audience directly to the main character of this artwork.î A contemporary installation by Mike Zerafa investigated the symbol of Salomeí in the character of the opera by Strauss interpreting Oscar Wildeís play through an artwork created around the moment of decapitation.

ìDecadence is deathî, the entrÈe to the ìDecadence, Now.î exhibition, brought together two works by the renowned Maltese artist, Giuseppe Cal" which had never before been presented together. They encapsulate the ideas around death that fascinated artists. ìThe human in its depiction moves between the living and the dying, and this newborn fascination and the idea of decay is the thread that runs throughout the exhibition by artists, curators, writers, architects, musicians and performers from so many disciplines,î Andrew says. Another part of the same room showcased decadence beyond Maltaís shores, displaying artefacts which speak about the femme fatale, a theme intertwined with the subject material of artist in the decadent movement depictions of females across the history of art, works by Oscar Wilde and Aubrey Beardsley, Man Rayís photographs of Luisa Casati, reinterpreted later in the ìDecadence, Now.î exhibition space dedicated to Paris.

ìDecadence, Now. is about a method, itís about reinvestigating objects from the past, to forge ideas for our future. It doesnít look to any city in isolation but rather it makes the case for people to be moving, ideas to be shared and for art to come out of that exploration,î Andrew Borg Wirth says. ìDecadence, Now.î looked to the curatorial as an art method in itself and in this way the exhibition becomes the ultimate art object. This was made possible through collaborations between so many individuals, artists, writers and curators, and also organisations, institutions, private patrons, and companies whose support has been invaluable throughout the whole process.î

Decadence, Now., by City of Art, was presented at Palazzo de la Salle in Valletta from 11th to 31st May 2023.

For exhibition catalogues, contact htps://impeachedmag.com/shop/books/decadence≠now/

 Giuseppe CalÏ Maltese, 1846ñ1930, Martyrdom of a Female Saint, c. 1900 Oil on canvas, loaned to the exhibition courtesy of Casa Rocca Piccola, Valletta.  Thirty, the artwork Andrew Borg Wirth created for this exhibition, was inspired by one of Man Rayís photographs of Luisa Casati.

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 Terrazzo: a fresh new take on a classic! Porcelanosa's terrazzo≠look ceramic tiles have the same aesthetic appeal as traditional terrazzo. With their unique texture, colour possibilities and durability, terrazzo tiles are a perfect fit in contemporary dÈcor ideal for a hallway, bathroom, kitchen, living areas and even outdoor spaces. Available from Satariano, 122, Msida Valley Road, Birkirkara.