INperceptibles, by the artist, Belén Millán, confronts us with this paradox: plastic is no longer outside life, but within it. Heather Davis articulates this with precision in Plastic Matter: “Plastic is the most intimate materialization of late capitalism; a substance that dissolves the boundaries between the living and the nonliving, the human and the nonhuman.” In Millán’s interventions, this dissolution becomes both visible and tactile. Plastic residue clings to calcareous algae, branches, roots, and seabeds, as if claiming its own place within the world’s ecology. What was once waste becomes body; the body becomes territory. Matter that was once inert returns as an active presence—alive, permeable, and mutable.

A multi-channel projection leads us through underwater landscapes where real debris converges with post-natural fictions: La Bestia Negra, a ghost net from an abandoned fish farm, recovered from the seabed by the organization Coral Soul, coexists with fabulated beings by Millan such as Eryngium plasticum and Umbilifex synthetica.

In this context, plastic matter ceases to be passive and becomes an archive of our time, a planetary skin that preserves the memory of what we produce, consume, and discard. As Heather Davis writes, “Plastic forces us to think of life not in terms of purity, but of cohabitation with the toxic.”

INperceptibles unfolds as a visual and material listening to the processes of contamination and toxic cohabitation that permeate our time; an invitation to rethink the aesthetic and ethical dimensions of a matter that already inhabits us.