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	<title>paloma pacheco, Author at cléo</title>
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	<description>a journal of film and feminism</description>
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		<title>Who We’re Watching: Joële Walinga</title>
		<link>https://cleojournal.com/2018/12/14/who-were-watching-joele-walinga/</link>
					<comments>https://cleojournal.com/2018/12/14/who-were-watching-joele-walinga/#respond</comments>
		
		<dc:creator><![CDATA[paloma pacheco]]></dc:creator>
		<pubDate>Fri, 14 Dec 2018 13:59:43 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 2: CanCon]]></category>
		<category><![CDATA[Joële Walinga]]></category>
		<category><![CDATA[video art]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3645</guid>

					<description><![CDATA[<p>The question of who has the right to produce work—and to assess its worth—has left the art world to grapple with the common criticism of elitism. Historically, art galleries, cinematheques and other cultural institutions have tended to favour a narrow, academically sanctioned universe of understanding, and to outsiders they can often feel unwelcoming or inaccessible. [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/12/14/who-were-watching-joele-walinga/">Who We’re Watching: Joële Walinga</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
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