She called for a single, accessible information hub where artists could receive practical guidance instead of navigating multiple institutions. More broadly, she advocated for stronger legal recognition of artists as professionals, with social protections that reflect the realities of artistic careers rather than forcing artists into systems designed for other professions. 
While Luxembourg already offers valuable resources, she noted, many artists—particularly newcomers—simply do not know where to find them. 

The importance of community 

Although administrative reform remained an important topic, the discussion repeatedly returned to another idea: community matters just as much as policy. 
For Uyi Nosa Oduwa (LAPS Art), opportunities often emerge through personal relationships rather than formal procedures. Exhibitions in unconventional spaces, collaborations with fellow artists, and local initiatives all played a crucial role in helping him establish himself. In a country as small as Luxembourg, he argued, showing up matters. Attending events, reaching out to institutions, and becoming part of the local artistic community often opens doors more effectively than waiting for systems to respond. Public support remains essential, but strong artistic networks are equally indispensable. 

The Invisible Cost of Making Art 

For Julie Wagener (Association of Visual Artists of Luxembourg – AAPL), conversations about artists’ mental health cannot be separated from their working conditions.  Burnout, she argued, is not simply an individual issue but the consequence of a system that expects artists to remain constantly productive while offering little financial or social security. Preparation time often goes unpaid, opportunities remain uncertain, and many artists hesitate to pause their work for fear of losing future commissions or visibility. Beyond financial precarity lies another, less visible burden: creative work is deeply personal. Every exhibition, illustration, or performance exposes part of the artist to public judgment, making artistic labour emotionally demanding in ways that are rarely acknowledged. Rather than focusing only on mental health support, Julie Wagener called for structural change: fair remuneration, stronger social protection, recognition of preparation time as work, and conditions that allow artists not merely to survive, but to build sustainable careers. Something interesting that was underlined by the different panelists is that Luxembourg, as a small country, offers the possibility to directly call the Ministry when questions arise, in order to be guided. It gives a sense of humanity within these processes and allows to be helped by professionals. 

Art as public good 

Responding from an institutional perspective, Nadine Erpelding (Ministry of Culture of Luxembourg) highlighted the growing recognition of culture as a public good rather than a luxury.  She pointed to increasing international evidence showing that participation in the arts improves mental and physical health, reduces loneliness, strengthens communities, and can even contribute to lower healthcare costs. Luxembourg, she explained, is increasingly exploring collaborations between the cultural and health sectors while continuing to improve support mechanisms for artists and cultural organisations. The discussion suggested that investing in culture is not simply about supporting artists—it is also about investing in healthier, more connected societies. 

A Shared Responsibility 

The conversation concluded on an optimistic but pragmatic note. Municipalities, national institutions, artist associations, and artists themselves all have a role to play in building a healthier cultural ecosystem. Cliff Schmidt (Municipality of Sanem) emphasized the importance of continued local commitment to creating spaces where culture can flourish. Julie Wagener (Association of Visual Artists of Luxembourg – AAPL) stressed the need for stronger professional recognition and collective advocacy within the artistic sector. Uyi Nosa Oduwa (LAPS Art)highlighted the importance of openness, networks, and mutual support, while Nadine Erpelding (Ministry of Culture of Luxembourg) reaffirmed the Ministry’s commitment to strengthening links between culture, wellbeing, and public policy. To close the discussion, each panelist summarized their hopes for Luxembourg’s cultural future in a single word. For Julie Wagener (Association of Visual Artists of Luxembourg – AAPL), it was professionalisation: recognising artistic work as a profession deserving proper rights and conditions. For Uyi Nosa Oduwa (LAPS Art), it was “bigger and better”—a stronger, more connected artistic community. Cliff Schmidt (Municipality of Sanem) chose commitment, underscoring the need for sustained public investment in culture. Finally, Nadine Erpelding (Ministry of Culture of Luxembourg) ended with resistance, arguing that in today’s world, art is not only a form of creation but also a means of defending openness, democracy, and social cohesion. Together, these four words captured the spirit of the discussion: ensuring that artists are not merely able to survive in Luxembourg, but are recognised, supported, and empowered to shape society through their work.