Alice Godwin
              The subterranean rooms of artist-run space Simian, in Copenhagen’s Ørestad district, could easily be mistaken for an underground bunker after the industrial apocalypse. Ørestad itself is a curious reminder of failed human design: an eerily deserted hangover from a bold urban plan to transform this area of wetlands on the edge of a nature reserve into a metropolitan center with gleaming glass buildings and a floating metro line. In the bowels of an old bicycle lockup, it feels as if the only souvenirs of the old industrial world are artworks by Toke Flyvholm, Yuri Pattison, Naïmé Perrette, and Lucie Stahl. Perrette’s documentary-style video Both Ears To The Ground (2021) is the engine of an exhibition that addresses the climate crisis. Projected on a wall in an intimate space within the first room of the gallery, the video focuses on the town of Berezniki in the Ural mountains and establishes the themes of collective amnesia and aestheticization that run through the exhibition. Once a beacon of Soviet industry, the town is now blighted by sinkholes created by the potash mines beneath. For residents, the sinkholes—warmly referred to by nicknames such as “the grandfather”— are a part of daily life. We are …

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