Minister for culture Sam Tanson (Green party) is worried about artists giving up their careers if things don’t improve in 2021.

Duncan Roberts: The budget for culture is being increased again in 2021. What is the strategy for next year in terms of professionalising the culture sector?

Sam Tanson: We are working very intensively on the development of Kultur:LX, the Luxembourg arts council whose origins were primarily aimed at helping artists in the export market. For a small country like Luxembourg, where potential audience is quickly reached, helping artists gain a foothold abroad is much more important than for many other countries. [after the interview was conducted, Diane Tobes was appointed national coordinator and Valérie Quilez was chosen to manage the international branch of Kultur:LX operations].

And we are working on reform of the “intermittents statute” [for compensation during periods of inactivity], because artists are among the most vulnerable and they live in great uncertainty.

Another priority is the protection of monuments, for which we are in the process of creating legislation… that we hope can enter into law next year.

What other challenges is the culture sector facing next year? You have talked about increasing support for creation…

The Neistart Lëtzebuerg  programme [to support a post-covid reboot of the economy] included increased support for the acquisition of new works. We also have support in place for residencies… and we also want to professionalise and make it easier for local councils and institutions to meet the so-called “1% project” requirement to invest in art in that amount of the budget for any public building. That will also provide more opportunities for artists.

So, are you generally optimistic for the short-term future of culture in Luxembourg?

I am worried. This year was extremely complicated for those working in the sector. We are lucky that those venues that are supported by the state or communes have managed to survive, and we have just announced more financial support for private venues. But it is the artists themselves that concern me most. Financial aid can only be a complement but can’t replace their income. And if the situation continues I fear a whole load of people will no longer pursue their career. And that would be dramatic, because since the first capital of culture [in 1995] many artists have managed to start careers and the whole scene became more professional.

Esch2022

Despite ruptures in the management of the Capital or culture project, including the departure this year of artistic director Christian Mosar, Sam Tanson is optimistic. “The idea behind Esch2022 is to create something sustainable for the south,” she says. “Many of the councils I have spoken to are thinking about not only what they will do in 2022, but also what will remain afterwards.”

This article is adapted from an original published in the January 2021 print edition of Delano.