Still from: Jenna Bliss, True Entertainment, 2023 – 24, HD video, 31:59 minutes. Courtesy of the artist and FELIX GAUDLITZ.Genuine Fake Premium Economy brings together three emerging artists: Jenna Bliss, Buck Ellison and Jasmine Gregory, whose practices interrogate ideas of class, inheritance and assumed values through representational media.
These artists – all born in the mid-80s in the US – transitioned into adulthood and working life in the wake of the 2008 financial crisis, and probe what effect this era of financial collapse has had on societal myths of fairness and progress under capitalism.
This focused group exhibition takes the pulse of a rising generational concern of living and working in a broken global economy, through themes of the acceleration of wealth inequity, art as an asset class and what commodity culture looks like today. While their work differs in form (Bliss works primarily in moving image, Ellison in photography and Gregory in painting and assemblage) all three artists share similar stylistic approaches to satirising, staging or appropriating the real.
About the artists
Jenna Bliss is an artist, filmmaker, and video editor. She lives in New York. Recent solo exhibitions include Blue Light in the Living Room at Ulrik, New York (2025), Basic Cable at Amant, New York (2024), Haus am Waldsee, Berlin (2024), Homing at Ulrik, New York (2022), Now Vacant., Stadtgalerie Bern, Bern (2021), and Late Responder, Felix Gaudlitz, Vienna (2020). Her documentary The People’s Detox was shown at Light Industry (2025), Kunstverein München, Munich (2021), Metrograph, New York (2020), Spectacle, Brooklyn (2019) and in educational and community programs worldwide.
Buck Ellison (b. 1987, San Francisco) lives and works in Los Angeles. His work examines how whiteness is sustained and broadcast. His work is in the collections of the Carnegie Museum of Art, Hammer Museum, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, and Whitney Museum of American Art.
Jasmine Gregory (b. 1987, Washington D.C.) explores the systems that define value and legitimacy-and what happens when those systems collapse. Working in painting and installation, the artist uses language, abstraction and unconventional display strategies to interrogate the social and aesthetic contracts that structure wealth, property, and taste.
Gregory's early work focused on re-painting luxury advertising imagery to critique how value, desire, and status are manufactured through images. These paintings exposed the seductive fantasies of inheritance, legacy, and stability that consumer culture sells us. Over time, she shifted from depicting these fantasies to interrogating the underlying structures that make them possible-social contracts, legal agreements, and systems of property.
Solo exhibitions include Who Wants To Die For Glamour at MoMA PS1 (New York, 2024); Si je ne peux pas l’avoir, toi non plus at CAPC Musée d’Art Contemporain (Bordeaux, 2023); Heirlooms at Kings Leap (New York, 2022); A Little Newer, A Little Better, A Little Sooner Than Is Necessary at Sophie Tappeiner (Vienna, 2022); Mommie Dearest at Istituto Svizzero (Rome/Milan, 2021); and Audacity Unlimited at Soft Opening (London, 2025). Gregory was nominated for the Swiss Art Awards in 2023 and 2025.
1 May – 5 July 2026
More details to be announced.
no. 236848.