From the brechtian photoepigram to the anonymity of the political e-meme

Above the biological and genetic notion that generates mimesis that is attributed to Richard Dawkins, to explain the contemporary phenomenon of the e-meme, and beyond the way in which Pérez Salazar defines these images endowed with humor as "expressions of popular culture"; this work starts from two main bases on which this critical art derives, first, the discomfort with injustice, cynicism and barbarism; and second, the level of the gaze and positioning of the exile with which a composer opens the way to the truth from its origin, in the middle of the jungle in tempest in which the incongruity and unreason of reality prevails. Georges Didi-Huberman, philosopher and prestigious historian of contemporary art, inspired mainly by the testimonies of Bertolt Brecht, playwright and poet, and in second importance imbued by Walter Benjamin, philosopher, writer and photographer; this text gives an account of the methodological path followed by the artist during the persecution he suffered in times of the Second World War, to erect photoepigrams, whose process is familiarly similar to the current e-memes, in whose contents the political panorama, as well as the ironic and critical humor constitute a combative constant, which acquires generalized communion, as if it were a multiplier effect, whose origin lies in discomfort.