Oddkin. Der Lurlei.

With Oddkin. Der Lurlei, PARRI BLANK presents Tim Berresheim’s most comprehensive solo exhibition at the gallery to date. The exhibition brings together a new body of hybrid paintings alongside, for the first time, a cast-aluminium sculpture—marking a new step within an artistic practice that has explored the relationship between digital technologies and painting for more than two decades.

Taking the myth of the Loreley as its point of departure, Berresheim develops a new body of work centred on echo, misdirection and unexpected forms of kinship. The exhibition title refers to “Der Lurlei”, an earlier name for the rock on the Rhine—evoking a time before its powers had taken on human form and were later embodied in the figure of the Loreley.

At the heart of the exhibition are hybrid works in which hand-applied oil paint, UV printing and aluminium merge to create complex, layered pictorial spaces. Berresheim describes this approach as a “systemically expanded handwriting”—a form of painting in which digital tools do not stand in opposition to the artist’s hand, but become part of an expanded artistic process.

For the first time, Berresheim also presents a sculpture within a gallery context. The work takes as its starting point two historic wooden figures of the Silvani from the archive of the Kölnisches Stadtmuseum, which the artist captured three-dimensionally and brings together in cast aluminium to form a new, shared presence.

The name Oddkin refers to Donna Haraway’s concept of unexpected forms of kinship—relationships grounded not in origin or ancestry, but in connection. This idea runs throughout the exhibition, unfolding between mythology and technology, painting and sculpture, human and machine.