Joc d’infants is a pictorial enquiry that revolves around the historical updating of the Joan Miró survey exhibition with which La Capella opened as a contemporary art exhibition space in 1968. Miró did not appear at the opening, claiming it was “on doctor’s orders”. His first attendance there was for an activity organised by schools in Barcelona at which, so the press repeatedly stated, 3,000 children were present. Lola Lasurt’s work explores the change in paradigm experienced by the city around 1968, in which Miró presented himself as a transitional object. The transitional object is a concept formulated by the child psychoanalyst Donald Woods Winnicott to refer to objects that might offer children support in a particular set of circumstances as they are growing up. In his article “Some Thoughts on the Meaning of the Word Democracy” (1950), Winnicott compares a child growing up with dictatorial societies’ move to democracy, and claims that neither process should be forced. By way of a chronotope, Joc d’infants consists of various elements. The first will be a new series of paintings based on photographs that document the state of emergency declared in Spain on 24 January that same year. The title is a reference to the ballet Jeux d’enfants by the Ballets Russes de Monte-Carlo, with music composed by Georges Bizet, libretto by Borish Kochno and sets and costumes by Miró, performed at the Liceu in 1933.