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Thinking about artistic representation as a form of political representation enables a better understanding of what can be seen and said, who has the ability to see it and say it, and how it is possible to know and do politics in different ways. In the case of Australia’s immigration system, this understanding is critical. Australia’s treatment of people seeking asylum and refugees is widely criticised by the international community as violating international human rights and humanitarian laws and norms. The legal and bureaucratic frameworks surrounding refugees in Australia not only render their stories largely invisible but continue to perpetrate harm and suffering which goes unaddressed. In the absence of state protection, artistic representation becomes an important intervention into the practices and narratives surrounding Australia’s treatment of people seeking asylum and refugees. In this article, I explore Hoda Afshar’s video and photographic artwork  Remain  (2018) which documents the experiences and struggles of a group of stateless men who were left to languish on Manus Island, Papua New Guinea, in the aftermath of the Australian government closing its Manus Regional Processing Centre.  Remain  is one of the only available avenues open to the men to share their stories and to communicate the harm caused by national policy and practices. I argue that the artistic representation of  Remain  becomes a crucial form of political representation in this aftermath; political representation which would not otherwise be possible.

The Right(s) to Remain: Art, Asylum and Political Representation in Australia