Valerio Rocco: "The cultural management of the Ayuso government is being disastrous"

MadridThis 2026 one of the most iconic buildings in the center of Madrid celebrates its centenary. It is the headquarters of the Círculo de Bellas Artes (CBA), a private, non-profit cultural institution that claims to be a "reference of freedom and independence" in the capital of the State. In recent years, it has focused on "opening up to citizens" with initiatives such as the climate shelter —they have set up a green and free space that last summer was used by 60,000 people to protect themselves from the heat; the Festival of Ideas, which brings philosophy to the streets, or the City and Science Biennial, organized in collaboration with the Barcelona City Council.

The good reception of these proposals among a large part of the people of Madrid contrasts with that of Isabel Díaz Ayuso's government, which, coinciding with the anniversary, has drastically cut the contribution that the Community of Madrid (CAM) makes to the financing of the entity. From 250,000 euros in 2024 to only 12,000 this year. A gesture that is more symbolic than with a real impact on an institution that only receives 7% of public resources —also from the Madrid City Council and the Ministry of Culture, which has responded by increasing its contribution by 50,000 euros in 2026—. Valerio Rocco (Rome, 1984) has been the director of the CBA since 2019 and speaks about all of this with ARA.

Ayuso's Minister of Culture [Mariano de Paco] has publicly criticized your programming. What makes you uncomfortable?

— I don't know what might be uncomfortable. In an institution that has 500 events of its own programming each year and hosts 500 more external programming events, it is logical that some of them focus on addressing current political issues such as the unacceptable massacre in Gaza or the role of the United States in the geopolitical order. This happens while an Abc chair or a business event of a large pharmaceutical company takes place. The CBA is plurality and diversity of voices.

Do you think it could be an action framed within his particular cultural battle?

— [With contempt for climate refugees] I believe there is an attempt to connect with a certain public opinion that is denialist of climate change, for example. However, I do not see a perfectly orchestrated culture war program with clear ideological guidelines as could be the case with [Giorgia] Meloni or [Steve] Bannon. I see more of a certain misrule and disorganization.

How would you describe Ayuso's government's cultural policy?

— I see a cultural policy that is more political than cultural. I am not a politician, I am a philosophy professor at the university and, after six years directing the Círculo de Bellas Artes, I believe I have the tools to judge the cultural management of the Community of Madrid. If one looks at the major projects, from the Teatros del Canal to the ballet of the Community of Madrid, there is a fairly broad consensus in the sector that this cultural management is being disastrous. Is it due to the incapacity of the people directing it? I am not sure, but I believe it is indisputable that these people have focused on doing politics instead of cultural management.

It seems you have become a battlefield between the Ayuso government and that of Pedro Sánchez.

— Sometimes, indeed, I think they are playing an action-reaction game with the Spanish government. But it is difficult for us to understand what is happening because with the previous [Ayuso's] councilors our relationship had always been excellent. The one we have with the Madrid City Council [of the popular José Luis Martínez-Almeida] or with other very relevant people from the national PP is also excellent. It is not a structural problem but one related to people, and this makes us optimistic.

At the CAM, therefore, for now they have decided to only finance specific projects and not the institution as a whole. The 12,000 euros are for a continuous reading ofEl Quixot. What impact does this change have?

— It generates uncertainty and a great deal of dependence on the specific opinions of the people who, at any given moment, occupy decision-making positions. It creates non-transparent and inefficient frameworks for institutions that tend to plan for the long term. And they are doing the same with the Prado, Thyssen, Reina Sofia museums, or the Ateneu de Madrid.

What is the Madrid that you aspire to represent?

— A Madrid that does not renounce thinking about itself, questioning itself, being critical, reflecting and joining with the different to dissent, through arguments, in an educated and civilized manner. We are not afraid of polarization. We believe it is very good in a society, because it makes it alive, energetic and generates thought. The problem is that it must materialize in argued debates oriented towards the common good.

You also aspire to dialogue outside the city.

— Our fundamental commitment to connection has been Barcelona and Catalonia. We believe strongly in this political and cultural bridge. In the midst of the Process, a debate was held here that was extraordinarily successful, which consisted of listening to demands and discontents to, from humility, try to build bridges. From Barcelona, I greatly envy the political drive to coordinate strategy between cultural institutions and the effort to connect the world of culture and that of the university. Madrid has lacked a willingness from administrations to align its enormous cultural wealth.