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Every day I work with a team of people

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that make the impossible happen.

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To make the tail of a blue whale

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stick out of the window[br]of one of the most iconic buildings

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in Buenos Aires.

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To make the girls in my country[br]want to be like Juana Azurduy,

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a heroine of the [br]Latin American independence.

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To make snow fall inside a huge theater

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over boys and girls [br]who had never seen snowing.

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To make whole families [br]come together in front of a screen

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to learn about the number pi,

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about Plato's Myth of the Cave,

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or about the history [br]of state-sponsored terrorism

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with the same interest they used to watch[br]an entertainment show before.

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Things that seemed impossible yesterday[br]are transformations today.

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In my office[br]at the Centro Cultural Kirchner,

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a space dedicated to art and culture,[br]I have a window.

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From there, I invite those[br]who visit me to look out with me.

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That window, for the sky, [br]reminds me of my childhood.

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I'm from San Luis.

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There you can see the most pristine skies [br]and the most beautiful clouds.

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The first time I looked [br]I was not aware of that.

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I grew up in a house that[br]was school as well.

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A "school home" run by my mom.

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When I was a girl, from my window [br]I'd look at the yard and see a slide.

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That yard, as well, [br]was the school's playground.

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And the slide wasn't just mine,

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it was the slide[br]of a lot of boys and girls.

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If I went out into the yard and looked [br]inside I'd see my house.

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But there were also chalks, games, desks.

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What for others was just a blackboard,

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for me, it meant the afternoon [br]when we had hung it.

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All the time I witnessed [br]a set of actions

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supported mostly by women: [br]mothers, grandmothers, janitors,

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the best managers of getting things done.

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For me, learning, playing, doing, [br]was always in community.

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Although at a time of the day [br]my house-school ran out of people,

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in that empty space I knew [br]that everything was going to happen again

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and that the next day my house [br]would become something else

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thanks to the work of all the people[br]that made the school possible.

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I didn't know this at the time,

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but as a child, I learned to look [br]at reality in a different way.

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I understood it many years later[br]when I was called to think about

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creating Canal Encuentro,[br]as part of an educational project.

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A public television channel.

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Many of us who started with the channel

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weren't from the capital of the country.

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We were coming [br]from different provinces:

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San Luis, Cordoba, Salta, Misiones.

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And our vision came with us.

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What we achieved with the team[br]of Encuentro, mostly women,

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was to transform educational television [br]through those visions.

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We created a screen in which each region [br]could display their own story.

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We were used to watching[br]boring documentaries,

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that were zero engaging,

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with hosts who didn't talk[br]like Argentineans,

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with images from other countries.

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In Canal Encuentro we started[br]to show the face of the teachers

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and the kids who were attending a school[br]in Santiago del Estero,

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or a rural school [br]in Barranqueras, Chaco.

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Or a kindergarten in Alumine, Neuquen.

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In half-hour episodes [br]we help dignify crafts and trades.

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We teach how to lay tiles,

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work on a Criollo loom,

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install thermal switches, [br]and design trousers.

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We teach philosophy through music.

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And music with Encuentro in the studio.

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And science with closeness.

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A new way to do and watch TV[br]was being born.

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New content, new ways.

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The channel won prestige and [br]the recognition of the audience.

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Soon afterward, Encuentro managed [br]to turn public audiovisual production

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into a tool for raising[br]appreciation and inclusion.

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Showing another possible image [br]of this that we are as a nation.

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Something had changed in Argentina

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in the conception of public policy

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and that transformation [br]was also happening on TV.

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They were years of huge energy, [br]of great learning,

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of a great work synergy [br]and collective creation

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that allowed us to produce [br]quality content.

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Thanks to Encuentro [br]we could create another channel.

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This time for children: PakaPaka.

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PakaPaka, the power of imagination,

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was the result of the work [br]of many, highly talented people.

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Producers, educators, [br]screenwriters, performers,

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cartoonists, editors, animators, [br]public workers.

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In this project,

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we focused on three privileged areas[br]for transformation:

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childhood, education and culture.

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We put the kids at the center.

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The secret was that, [br]from the public space, from the state,

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and from an educational project,

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we worked every day [br]producing for inclusion,

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educating for equality,

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and providing access [br]to quality content.

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A few years later, I was able to take[br]to San Luis all that experience.

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That's how Juan and Pascual were born, [br]two animated characters, twins,

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who talked like me,[br]eat watermelon like me,

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have siesta,

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and are friends with a squirting wind [br]that blows very hard.

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From this cross-platform project [br]Juan and Pascual

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made our boys and girls[br]from San Luis

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learn from their own experience,

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with the landscapes, the history,[br]and the skies that surround them.

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All this seemed impossible.

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Creation through art and culture[br]can lead to collective transformation.

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It's not about personal talent.

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What I learned at my home-school [br]when I was a child, marked my way.

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I would look at the empty space

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and I knew that this space [br]could be transformed again.

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Thanks to that community of women

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I learned that when a team of people

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works with conviction and commitment

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the impossible becomes possible.

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Since the pandemic arrived to Argentina,

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I go to work every day [br]to the Centro Cultural Kirchner.

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Today, where the whale came out[br]through the window, is empty.

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It lacks their culture workers,

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the visitors, the artists, the community.

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I look through that window [br]and I see a city in pause.

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In pause, I go back to my life.

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I repeat all the time the same action [br]for as long as I can remember

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as if I were a camera myself.

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I see those who surrounded me [br]in that house, in that yard,

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those who had to have a place[br]in TV productions

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that were until then denied.

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Those who teamed up with me [br]and made it possible.

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My job is to look at others [br]see their potential,

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that spark that turns them on, [br]the one we get together

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and from where we build together.

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This empty space presents us [br]a new opportunity,

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a unique challenge to make, to create.

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Once again we can [br]make the impossible possible.

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Let's build a future full of encounters

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with new stories told in our voices,

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let's transform reality again,

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being freer, closer, more humane.