Not every show is worth a special trip. But “Real Corporeal,” an ambitious exhibition organized by Gladstone Gallery in the former home of Gavin Brown’s enterprise in Harlem, justifies a commute. Helmed by London curator Ben Broome, the show brings together works by an intergenerational cast of artists in a variety of media, all concerned with re-asserting the body’s presence in the gallery space.

As anyone who’s ever had to use the restroom at an art show might know, white cubes are meant mostly for the mind and eyes. But a robust performance program accompanying the show aims to pack bodies into the gallery, where visitors will be surrounded by 30 works from artists with conversant practices.

“If one is to conceptualize the exhibition as a family gathering, the aunts and uncles are seated interspersed amongst the younger cousins,” the press statement reads. Renowned electronic musician Klein has a work, cheekily titled Life as a Clout Chaser is Hard (2022), alongside a contribution by her mentor, artist Mark Leckey. Sara Sadik’s moving images are kindred with those of Cyprien Gaillard.

Those who come to see Arthur Jafa’s latest, Dirty Tesla (2021), which riffs off his practice of sequencing found footage, may stay for Tommy Malekoff’s Desire Lines (2019), a 15-minute video of strange spectacle that contrasts car tires with fireworks. Also on view are figurative paintings by sought-after artists Chase Hall, Pol Taburet, Amanda Ba, and George Rouy.

Broome told Arnet News that the massive Harlem space was a natural fit for “Real Corporeal”: “It’s an incredible gallery for showing art—there’s nothing else like that monastic top floor in New York City.” But the architecture is but one of many entry points.

Broome maintains there’s no single “best spot” to understand “Real Corporeal” from—except the mind, counterintuitively, “when you’re on the train home thinking anxiously about whether Klein’s work Life as a Clout Chaser is Hard applies to you.”

Or, better yet, catch a performance. Gladstone recently hosted Chassol on September 24, and Slauson Malone 1 on September 26. Keep your eyes on the gallery’s Instagram for future announcements, including a yet-to-be-revealed performance from Joan Jonas, the eldest artist in the show.

“Without her,” Broome said, “I wonder how many of these artists would be here.”

“Real Corporeal” is on view at 439 West 127th Street through October 15, 2022.

Tommy Malekoff, Desire Lines (2019). Two-channel digital video and sound. Installation view. Courtesy of the artist and Gladstone Gallery. Photography by David Regen

Installation view, “Real Corporeal,” including Arthur Jafa’s Dirty Tesla (2021) at center. Photography by David Regen.

Christelle Oyiri, The Twilight of The Idols (2022). Printed 4 plexiglass panel installation. Installation view, Photography © Jay Izzard

Installation view featuring works by George Rouy, Chase Hall, Christelle Oyiri, Walter Pichler, and Klein. Photo by David Regen

Chase Hall, Up and Downstate Boys (2022). Acrylic and coffee on cotton canvas

Pol Taburet, Fertilizer / Neg (2022). Installation view, with viewers. Photography © Jay Izzard

Installation view, featuring works by Pol Taburet and Rhea Dillon. Photo by David Regen

Amanda Ba, The Plower and the Weaver (2022). Oil on canvas

Mark Leckey, To the Old World (Thank You for the Use of Your Body) (2021). Two channel 9:16 video installation, aluminum, steel, with 7.1 surround sound. Installation view. Photo by David Regen

Christelle Oyiri, Family Fresco 2002 (2022). Printed 4 wooden panel installation. Installation view. Photography © Jay Izzard