Still drinking the Kool-Aid?
(2017)

This project examines the recurrence of ideological and social patterns across different historical contexts. The expression Don’t Drink the Kool-Aid, now widely used in political and cultural discourse, serves as a conceptual entry point, referring to the uncritical acceptance of beliefs or narratives. Its persistence highlights how mechanisms of persuasion and collective adherence remain consistent over time.

The research focuses on the Peoples Temple, often reductively defined as a “cult.” Such a label oversimplifies a complex socio-political phenomenon that cannot be understood solely through the figure of Jim Jones. Founded in the 1950s in the United States, the organization promoted ideals of racial integration and social justice, attracting a diverse community of followers. In 1978, in Jonestown, Guyana, over 900 members died in a mass murder-suicide orchestrated under Jones’ leadership, marking one of the most significant tragedies of the 20th century.

Archival images initially suggest a cohesive and functional community: smiling individuals, collective activities, and a multicultural environment. These vernacular photographs present an ordinary and harmonious reality, contrasting sharply with the commonly known outcome. This visual layer alone proves insufficient for a comprehensive understanding.

Information, in this context, emerges as a complex and stratified construct rather than a neutral or transparent element. Historical and media studies have shown how narratives are shaped through processes of selection, framing, and repetition, often reinforcing simplified interpretations of events. When approached critically, beyond their immediate appearance, documents and images reveal internal contradictions and overlooked dimensions. What may initially appear as a clearly defined and easily labeled fact can instead conceal a multifaceted reality, in which different perspectives coexist and challenge dominant narratives. This shift from surface reading to deeper analysis allows alternative interpretations to emerge, exposing the instability of seemingly fixed meanings.

Further analysis of letters and tape transcriptions produced by community members reveals a significant discrepancy between textual content and photographic representation. This tension becomes central to the project. Drawing on the methodology of Aby Warburg’s Mnemosyne Atlas, a visual panel is constructed through the juxtaposition of images and texts. This approach exposes parallel narratives and reveals a stratified reality in which appearance and underlying conditions diverge.

The project ultimately aims to produce a visual framework that demonstrates how similar patterns persist across time. While contemporary contexts differ technologically, the presence of charismatic figures capable of shaping collective thought remains constant. What evolves are the mechanisms of influence, now embedded in digital systems such as algorithmic visibility and targeted communication.

By establishing connections between past and present, the work critically reflects on the relationship between images, narratives, and power, emphasizing how perception can be subtly constructed and directed.