Over a period of nearly five years, Lapdogs of the Bourgeoisie interrogated how class structures shape the production, presentation and reception of contemporary art. Initiated in 2006, the project asked complex, unresolved questions, such as: How does class impact who becomes an artist or curator? Can contemporary art itself be seen as a privilege of the middle classes? Twenty years on, we return to these questions and ask why class continues to be so easily overlooked in the production and presentation of art—even at a time when matters of political equality are far more prevalent than before.

In fact, when it comes to these questions, the art field itself may have more to contribute than meets the eye. We all know the art world is not exactly a meritocracy. But it may have proposals to share nonetheless. After all, it wouldn’t be the first time that contributions by art workers were overlooked or undervalued, by historians and theorists alike. By means of a project archive and a public programme, Lapdogs of the Bourgeoisie is a chance to build on such ideas, scenarios and analyses—and to imagine new perspectives for art and beyond.

de Appel’s current mission is formed, among others, by research and conversations about art funding, grassroots art economies and institutional governance. The revisiting of Lapdogs at de Appel offers the chance to discuss class not only within these rubrics, but also to look at the changes in the (art) world around labour, wage, access or precarity in the last twenty years. The two artists newly contributing to Lapdogs 2026 are Özgür Atlagan—the designer of the exhibition racks—and Alina Lupu, who organises the Working Conditions public programme during the exhibition’s run.

Revisited at de Appel in 2026 by curators Eszter Szakács and Tirdad Zolghadr, with new contributions by artists Özgür Atlagan and Alina Lupu.

Originally curated by Nav Haq and Tirdad Zolghadr, featuring artists Annika Eriksson, Chris Evans, San Keller, Hassan Khan, Marion von Osten, Natascha Sadr Haghighian and others.

The opening programme on Saturday 12 September is a one day symposium featuring some of the original artists and contributors of Lapdogs of the Bourgeoisie, as well as new contributing artists and discussants around issues of class.

Part 1
11:00 Doors open

11:15 Words of welcome by Lara Khaldi, artistic director of de Appel

11:30 Introduction by Tirdad Zolghadr and Eszter Szakács, co-curators of Lapdogs of the Bourgeoisie

12:00 (Art) Workers and Solidarity: Özgür Atlagan, Sepp Eckenhaussen, Hilda Moucharrafieh (Platform BK), Alina Lupu, hosted by Eszter Szakács

The conversation with participating artists Özgür Atlagan and Alina Lupu, as well as Hilda Moucharrafieh of Platform BK and organiser Sepp Eckenhaussen looks at class divides and the ways in which it is possible to practice solidarity with workers beyond the art field. Harvest (artistic recording) by Emili Allahbeigi.

13:00 Lunch

Part 2
14:00 Revisiting Lapdogs: Annika Eriksson, Chris Evans, Peter Spillmann, hosted by Eszter Szakács & Tirdad Zolghadr

How to revisit an artwork, a project, a time, a generation? Together with Peter Spillmann, partner and close collaborator of Marion von Osten (1963-2020), participating artists Annika Eriksson and Chris Evans discuss the conceptual and historiographic challenges of commemorative efforts, from gestural homages to material archives.

15:00 Goodbye to All That – possible exits from and endings to contemporary art: conversation by Natascha Sadr Haghighian and Suhail Malik, hosted by Tirdad Zolghadr

Will contemporary art ever truly confront the class divides which define it? How far has the field come and how much further can it realistically go? To chart a 25 year trajectory is also an opportunity to ask fundamental questions – and to speculatively plot new ground. Theorist Suhail Malik discusses with participating artist Natascha Sadr Haghighian.

16:00 Coffee break

16:30 Listening Session: Hassan Khan

Khan presents a selection of tracks, songs and music videos including an obscure self-portrait from Sly Stone’s last album, various iterations of early 2000s new wave Shaabi and peak Egyptian Hip-Hop from the late 2010s to discuss the conceptual and aesthetic tools that music and popular culture can offer as an antidote to the inherent neurotic anxieties of institutional contemporary art.

Part 3 (no reservation necessary)
18:00 Nothing's Perfect by San Keller with Renzo Martens

Christian Dior’s gold-tipped baton was used during studio tours to point out flaws in the work of his employees. For participating artist San Keller’s performance, an identical baton will be utilised by Renzo Martens who tours the premises, baton in hand.

18:30 Drinks

20:00 End

If you'd like to attend the full programme, please make sure to reserve for both part 1 and 2. Lunch is included in part 1 of the programme.

This exhibition was made possible with the generous support of: