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<div>Dear friends, </div>
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<p style="margin: 0px 0px 6px; font-family: inherit;"><font color="#1d2129">I’m delighted to announce the PUBLIC special issue of MEGA-EVENT CITIES: Art/Audiences/Aftermaths co-edited with Peter Dickinson and Kirsty Johnston. </font><span style="color: rgb(29, 33, 41); font-family: inherit; line-height: 1.38;"> </span><span style="color: rgb(29, 33, 41); font-family: inherit; line-height: 1.38;"> </span></p>
<p style="margin: 0px 0px 6px; font-family: inherit;"><a href="http://www.publicjournal.ca/53-mega-event-cities">http://www.publicjournal.ca/53-mega-event-cities</a>/</p>
<p style="color: rgb(29, 33, 41); font-family: inherit; margin: 6px 0px;">MEGA-EVENT CITIES brings together leading scholars, artists, and activists to examine the role of the arts in articulating the social agendas of urban mega-events like Olympic Games and
World Expos. As mega-events circulate from one city to the next, they leave complex (often ruinous) infrastructural legacies for artists and communities, with scenarios of national celebration transiting swiftly to austerity measures and socially cleansed
urban cores. The contributors to PUBLIC 53 engage with the exhilaration and sober aftermaths of the “mega” by taking stock of the fluid politics of officials who seek to commemorate mega-events through public art programs, and activists who choose to question
the same events through creative acts of resistance. With particular focus on Vancouver and London—but ranging beyond to Sochi, Rio, Milan, Calgary, and Baku, Azerbaijan—this issue asks how art and culture can intervene in the pressing security, human rights,
and environmental issues that shape mega-events. Mega-Event Cities addresses the local politics of global placemaking and shows the shared artistic practices, performative interventions, and resistant acts that can be found across host city sites.</p>
<p style="font-family: Arial, Helvetica, sans-serif;"><strong>Introduction</strong></p>
<p style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 1.38;">Mega-Event Cities, </span><span style="line-height: 1.38;"><i>Peter Dickinson, Kirsty Johnston, Keren Zaiontz</i></span></p>
<p style="font-family: Arial, Helvetica, sans-serif;"><strong>PART 1: Vancouver 2010 </strong><br>
Hosts and Guests, <em>Lorna Brown</em><br>
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<p style="font-family: Arial, Helvetica, sans-serif;">The Illusion of Inclusion: Agenda 21 and the Commodification of Indigenous Culture in Olympic Games, <em>Janice Forsyth</em><br>
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<p style="font-family: Arial, Helvetica, sans-serif;">“You just Censored Two Native Artists”: Diseased Logics and Anti-Olympic Resistance, <em>Jennifer Adese</em></p>
<p style="font-family: Arial, Helvetica, sans-serif;"><strong>PART 2: London 2012</strong><br>
Olympian Performance: The Cultural Economics of the Opening Ceremony of London 2012, <em>Michael McKinnie</em><br>
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<p style="font-family: Arial, Helvetica, sans-serif;">Media Archaeologies of the Olympic City, <em>Angela Piccini</em></p>
<p style="font-family: Arial, Helvetica, sans-serif;">Inelastic Olympic Hopefuls: Rhythmic Mis-Interpellation in Three Auditions for the London 2012 Ceremonies, <em>Keren Zaiontz</em></p>
<p style="font-family: Arial, Helvetica, sans-serif;"><strong>PART 3: Reflections on Art and Activism after the “Big Show”</strong><br>
Battle for a Brave New World, <em>Jenny Sealey</em><br>
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<p style="font-family: Arial, Helvetica, sans-serif;">Public Art as Collective Practice: A Conversation with Neville Gabie<br>
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<p style="font-family: Arial, Helvetica, sans-serif;">The Aesthetics of Austerity: A Conversation with Liz Crow</p>
<p style="font-family: Arial, Helvetica, sans-serif;"><strong>PART 4: Suspending Freedom, Sustaining Spectacle: Mega-Event Cities, Past and Present</strong><br>
Calgary (1988): A Cultural Olympiad <em>Avant La Lettre</em>, <em>Susan Bennett</em><br>
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<p style="font-family: Arial, Helvetica, sans-serif;">Olympic Homonationalisms, <em>Heather Sykes</em></p>
<p style="font-family: Arial, Helvetica, sans-serif;"><em>All that Glitters: Sport BP, and Repression in Azerbaijan</em> (“The Great Coming Out Part of Azerbaijan” and “What the Marriage has Created”), <em>Emma Hughes </em>and<em> James Marriott </em></p>
<p style="font-family: Arial, Helvetica, sans-serif;">States of no Exception: EXPO 2015 in Milano, <em>Urban Subjects</em></p>
<p style="font-family: Arial, Helvetica, sans-serif;"><em>Figures </em>(2015)—Mass Sculptural Durational Performance, <em>Liz Crow</em></p>
<p style="font-family: Arial, Helvetica, sans-serif;"><i>Collective Breath </i>poster, <em>Neville Gabie</em></p>
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<p style="margin: 6px 0px; font-family: inherit;"><font color="#1d2129" style="font-family: inherit; line-height: 1.38;">The issue will soon be available through institutional library subscription vis-a-vis Intellect and hard copies be ordered through PUBLIC.
Enjoy!</font><span style="font-family: inherit; line-height: 1.38; color: rgb(0, 0, 0);"> </span><span style="font-family: inherit; line-height: 1.38;"> </span></p>
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<div><font face="Arial" style="font-size: 12px;">— </font></div>
<div><span style="font-size: 12px;"><font face="Arial"><span style="background-color: rgb(255, 255, 255);">Keren Zaiontz, PhD</span><br>
</font><span style="font-family: Arial;">Assistant Professor and </span></span><span style="font-family: Arial; font-size: 12px;">Queen's National Scholar</span></div>
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<div style="word-wrap: break-word;"><span style="font-size: 12px;"><span style="font-family: Arial;">Department of Film and Media</span></span></div>
<div style="word-wrap: break-word;"><span style="font-family: Arial; font-size: 12px;">Cultural Studies Graduate Program</span></div>
<div style="word-wrap: break-word;"><font face="Arial" style="font-size: 12px;">Queen's University </font></div>
<div style="word-wrap: break-word;"><font face="Arial" style="font-size: 12px;">Kingston, ON Canada K7L 3N6</font></div>
<div style="word-wrap: break-word;"><font face="Arial" style="font-size: 12px;">E. <a href="mailto:keren.zaiontz@queensu.ca">keren.zaiontz@queensu.ca</a> </font></div>
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<div style="word-wrap: break-word;"><span style="font-size: 12px; font-family: Arial; background-color: rgb(255, 255, 255);">Reviews Editor: </span><a id="LPlnk55552" href="http://www.tandfonline.com/toc/rprs20/current#.VgL4KrQmehM" style="font-size: 12px; font-family: Arial;">Performance
Research</a></div>
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<div style="word-wrap: break-word;"><span style="background-color: rgb(255, 255, 255); font-size: 12px;"><font face="Arial">Queen's University sits on the traditional territories of the Haudenosaunee & Anishinabek</font></span></div>
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