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gauging the temperature of contemporary art, establishing new regional relations and it’s an opportunity to get to know colleagues’. As well as the Madrid region’s wish to become internationally known, and not forgetting that Edinburgh’s festivals are an established platform for artists from all over the world, both individually and collectively. ‘For me it’s been nice to see how they work and the ideas that are developed and, of course, to “steal” ideas as well’, she laughs. After all, seeing what is done in other places helps improve one’s own efforts.Question. Surge Madrid scheduled various shows for May. Out of everything you saw, what grabbed your attention the most?Answer. I saw very good work performed by young people in particular. It was interesting to see classics that can attract a younger audience. But I’m not a programmer so for me it was an opportunity to gauge the temperature of art and take part in interesting talks.Q. What are the main points to bear in mind when organising a festival? A. For us I think the most important thing is relations between local and international artists as a whole. The idea is to find work, from anywhere in the world, that combines with the right ambition to engage with the audience. In Edinburgh’s case, 65% of the public is from here and we have to try and change how they think with what we bring. Our city becomes an opportunity for international festivals. Open-mindedness, always bearing in mind national identity. It’s a very major work that combines local with global. And another main point is to know what makes artists want to take part in our festivals.Q. What is more, Edinburgh attracts a lot of people from abroad.A. We’re a small capital. Madrid, for example, has six times as many inhabitants, but the city of Edinburgh itself cohabits with the festival, with each of its corners, gardens, churches, cafés and small bookshops. Everything coexists with the ideas of art. Plus it connects with the landscape and architecture, weInterview155Selection of projects