This article defends the normative relevance of the representation of non-citizens in democracies. I argue that representation within nation-states constitutes a realistic institutionalisation of the All-Affected Principle, allowing justificatory practices towards non-citizens and establishing political institutions that can realise the ideal of inclusion of all externally affected individuals. I defend electoral, non-electoral and surrogate forms of representation of affected interests that satisfy both the cosmopolitan concern for the equal consideration of interests and the statist defence of the importance of a (...) territorially and civically bounded demos. I assess piecemeal implementations of representation practices, namely reciprocal representation, ombudspersons, self-appointed representatives and deliberative and advocacy groups. Gradual and pluralised means of representation constitute necessary and feasible first steps to consider affected interests and offer an alternative route to an all-or-nothing defence of inclusion as national enfranchisement. (shrink)

The purpose of this article is to explore the multiple layers of representation which occur in the South Africa Pavilion at the Art Biennale in Venice in order to understand how they constitute and affect the state’s political imaginary. By analysing three artworks (David Koloane’s The Journey, Sue Williamson’s For thirty years next to his heart, and Zanele Muholi’s Faces and Phases) which were exhibited in the 2013 Pavilion, two key arguments emerge: 1) in this context artistic representation can be (...) understood as a form of political representation; and, 2) these artists are simultaneously state and citizenry representatives. A tension emerges between the political imaginary desired by the South African state and the political imaginary enacted by its representatives. The article draws on seven months of participant observation fieldwork at the Biennale, which involved 76 interviews with people associated with the South Africa Pavilion, including government representatives, exhibition organisers, artists, and visitors. Part I explores the concept of representation in order to establish the two philosophical trajectories (political and artistic) with which this article engages – with particular reference to Michael Saward’s framework of the representative claim. Part II explores the multiple representative claims which the three artists and their artworks enact.Abbreviations: Biennale: Venice Art Biennale; DAC: Department of Arts and Culture; For thirty years: For thirty years next to his heart, by Sue Williamson; TRC: Truth and Reconciliation Commission; US: United States of America. (shrink)