Ugegraff is an artistic initiative that directly addresses domestic violence, a phenomenon that remains largely invisible despite its scale. Led by artist Uyi Nosa Odia, the project invites the public to confront this reality through art, not for the sake of shock, but to open a shared space for awareness, dialogue and transformation.

The starting point of the project is an encounter. Uyi Nosa Odia engaged with individuals who had experienced domestic violence in Luxembourg. Their direct and concrete accounts marked a turning point.

Faced with this realisation, Uyi chose to respond as an artist.

Before Ugegraff, domestic violence was often confined to the private sphere, difficult to name and to confront. There were few spaces where it could be addressed publicly in a sensitive and collective way. Ugegraff emerged from this gap, creating a framework in which this reality can be made visible, shared and understood differently.

At the core of the project lies a powerful artistic gesture: artworks are created and then deliberately exposed to risk and destroyed in public during an opening performance. This act of destruction is not an end in itself; it embodies the cycle of violence, its brutality and its repetitive nature. The audience witnesses this process, often in a charged silence that provokes an immediate emotional response.

This first phase is followed by a second, equally essential movement: reconstruction. During workshops, participants are invited to reassemble the destroyed works freely, without predefined instructions. This shift from observation to action marks a change in perspective. For some, especially younger participants, the act of rebuilding becomes a strong symbolic gesture that goes beyond the artistic context.

Ugegraff addresses a deliberately broad audience: families, young people, citizens, as well as individuals directly or indirectly affected by violence. Throughout the project, specialised organisations such as Femmes en détresse, Esch Égalité Diversité, Vivre Ensemble Interculturel and an association dedicated to survivors provide support for those who wish to take further steps or seek assistance.

The implementation of Ugegraff relies on strong collective dynamics. More than fifty artists and volunteers took part, alongside institutional and cultural partners. Finding a suitable venue proved to be one of the main challenges and led to several postponements. The decision was made to take the necessary time in order to preserve the coherence and intention of the project, even if it meant adjusting the timeline.

The impact became visible from the very first days. The opening performance triggered intense reactions, followed by spontaneous exchanges and personal testimonies, sometimes expressed for the first time. The workshops confirmed this engagement, as did the continued involvement of artists and contributors.

With Ugegraff, art becomes a way to address a sensitive issue directly, creating a space where silence can turn into expression.