Amalias exibition: In the 1990s she published the social realist fanzine Equis-U in collaboration with a group of women. This was one of the first fanzines in Chile with a feminist agenda. The exhibition features the comic strip La Jinetera from this fanzine: a story without words about the conditions and consequences of prostitution after the dictatorship.
Tierra was another fanzine, produced in collaboration with a Likan-Antai organisation. It used satire and humour to tell the story of how the colonial powers ‘discovered’ Chile.
After moving to Sweden in 2000, Alvarez continued to produce comics on distinctly anti-racist themes. Her first album, five stories of undocumented women, published 2013 and”five stories of prostituters” in 2016. Both books are written in Spanish, Swedish and English and are based on stories from ”illegal” immigrants, women who grew up outside of Europe. Alvarez’s visual language is direct, and she is capable of evoking emotional states like fear and exposure with minimal graphic means.
Her method, not least for the two albums published in Sweden, involves in-depth interviews with people who have experienced what she narrates. Apart from her own comics, Alvarez has also worked as an illustrator, for projects such as Memorias
de la violencia política en Chile (Memories of Political Violence in Chile, 2014), a social and psychological study of memories of the coup and how they have affected different generations of people. From the presentation of the exhibition.
Kurator för utställningen, Hans Carlsson.
Tierra was another fanzine, produced in collaboration with a Likan-Antai organisation. It used satire and humour to tell the story of how the colonial powers ‘discovered’ Chile.
After moving to Sweden in 2000, Alvarez continued to produce comics on distinctly anti-racist themes. Her first album, five stories of undocumented women, published 2013 and”five stories of prostituters” in 2016. Both books are written in Spanish, Swedish and English and are based on stories from ”illegal” immigrants, women who grew up outside of Europe. Alvarez’s visual language is direct, and she is capable of evoking emotional states like fear and exposure with minimal graphic means.
Her method, not least for the two albums published in Sweden, involves in-depth interviews with people who have experienced what she narrates. Apart from her own comics, Alvarez has also worked as an illustrator, for projects such as Memorias
de la violencia política en Chile (Memories of Political Violence in Chile, 2014), a social and psychological study of memories of the coup and how they have affected different generations of people. From the presentation of the exhibition.
Kurator för utställningen, Hans Carlsson.
Amalia Alvarez R 
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