Installed as architectural extensions of the Hangar Y structure, the two façades designed by di Giovanni mimic the look of a toy store or clinic. With the sign “Toys Care Center” in a candy-pink font, the installations appear neutral at first glance — but serve as backdrops for red graffiti. This fictional act of vandalism draws from the visual strategies of pro-choice activists in the United States, who tag so-called “fake clinics” set up by anti-abortion groups in order to expose their misleading appearances.

By transposing this logic onto the world of toys, Toys Care Center raises critical questions: can toys be healed? Can they be reprogrammed, or freed from the narratives they carry? Or is it already too late?

Participating artists in the group exhibition include: Monira Al Qadiri, Francis Alÿs, Mathis Altmann, Nina Beier, Neil Beloufa, Eloise Bonneviot & Anne de Boer, Tommy Cash, Debora Delmar, K. Desbouis, Cécile di Giovanni, Gerrit Frohne-Brinkmann, Simon Fujiwara, Elsa Goussies, Matthieu Haberard, Rachel Hobkirk, Tony Hope, Esteban Jefferson, Gregory Kalliche, Ghislaine Leung, Nevine Mahmoud, Gabriel Massan, Ad Minoliti, Chalisée Naamani, Arash Nassiri, Charlemagne Palestine, Benoît Piéron, Hannah Quinlan & Rosie Hastings, Bunny Rogers, Janne Schimmel, Cindy Sherman, Flannery Silva, Aviva Silverman, Kyle Thurman, Dziga Vertov, Marianne Vieulès, Julia Wachtel, Zhi Wei, and Murphy Yum.

Working on the colors of the façade was a crucial step in the development of the installation. The selected palette needed to evoke both childhood and medical themes. The animated series Pinky and the Brain proved to be a revealing reference, with its color tones also echoing 1990s cartoons such as Batman: The Animated Series.

Images below are from "Batman: The Animated Series", Paul Verhoeven's film "Hollow Man" and Barry Levinson's film "Toys". The color palette that served as a key inspiration is clearly visible here — blending elements of cartoon aesthetics, medical environments, and toy-like design.

The work draws on both the visual and graphic identities of so-called “fake clinics” opposing abortion, as well as on graffiti produced by pro-choice activist. The name "Toys Care Center" is directly inspired by generic names like "woman care center" used by fake anti-abortion clinics to define themselves.

The buildings as depicted in series such as The Simpsons, Beavis and Butt-Head, and King of the Hill strongly influenced the approach to the geometry and overall appearance of the structure. The idea was to maintain a simplified — even simplistic — form, while still evoking the world of toys in a meaningful way.

Two existing facades were present in Hangar Y, onto which the new ones had to be applied. The initial concept envisioned a house-like structure with a triangular roof. This approach later shifted toward a rectangular form, echoing the shape of the existing facades and drawing inspiration from cartoon architecture seen in 1990s and 2000s animations such as The Simpsons, Beavis and Butthead, and King of the Hill.

Once the building’s shape was finalized, the next step focused on developing the logo and selecting the right color palette. The breakthrough came with the idea of combining tones inspired by medical environments with the saturated aesthetic of cartoons — a contrast that helped set the overall mood.

Once the logos and color palette were finalized, the next step was to develop the texture of the two graffiti tags on each façade — "liars" and "fake clinic" — and apply them. While the graffiti was hand-painted directly onto each installation, their original graphic design will be retained for a future evolution of the project in the form of a toy.

The next phase of the Toys Care Center project, currently in progress, involves adapting the façade into a full building, with the aim of turning it into a plastic toy. Once designed and modeled in 3D, the Toys Care Center building will be 3D printed at 1:100 scale.