The Map, which was displayed in the Sketches of Teruya Exhibition (12/2019 - 3/2020), had never existed, emerged naturally as people began putting their personal information on the map itself without any provocation. As such, the map functioned as a site/sight of MiXtory in weaving together the history, personal stories, and the gaps or questions that emerge between history and memory. The interplay in the map is performative: a map is an object that solicits the viewer into action by filling the gap of what is missing on the map. Enacting a topophilia, ``the affective bond between people and place. …” (Tuan, 1990), the map elicits individuals to speak spontaneously, followed by an action, which is preceded by the sentient of the body’s activation of the chimu[Soul]. 

 

It is a living a(t)chive having dual functions as a method (of archiving) and an object (of art/archive) that continues to develop as people share new MiXtory in producing a collective MiXtoriography.