Three Gallery EXIT solo shows in Tin Wan until November 21: Kwong Wing Kwan’s changing light, Oscar Chan’s guardians and Li Ning’s memory collages
Gallery EXIT presents three Hong Kong artists across its third and thirteenth floors. Six official artwork and installation photographs connect painted day and night, ink and oil figures, and memories reconstructed through prints and collage.
Three ways of looking can form a route through one industrial building. From October 17 to November 21, 2026, Gallery EXIT in Tin Wan, Hong Kong, is presenting three concurrent solo exhibitions: Kwong Wing Kwan’s Good Morning, Sweet Dreams – Time Blindness, Oscar Chan Yik Long’s Two Kinds of Protection and Li Ning’s No Ground. Kwong’s show occupies the third floor, with the other two on the thirteenth. They are separate exhibitions rather than one group show, yet a sense of time, protective figures and reconstructed memory offer connections for comparison.
Kwong Wing Kwan: flight, distance and uncertain day and night
Kwong continues her Good Morning, Sweet Dreams series by bringing flight, distant friends and family, and perceptions of time into oil painting. Threads include a wish to visit loved ones who have moved far away, and a photograph of a sunset before a storm sent by her mother from her home region of Hainan. Anxiety previously associated with flying gradually becomes a reflection on time, memory and emotion. The English title Time Blindness suggests difficulty perceiving the passage or duration of time; the Chinese title brings long stretches and fleeting moments into a shared frame.
The large painting in an installation photograph combines a blue-violet sky, palm silhouettes and an orange frame. Resembling an entrance without solid walls, the frame gives the landscape both a distant view and an interior-like boundary. Midnight Sun 04:00, a separate oil on canvas from 2025 measuring 39 × 39 cm, shows a low sun at left casting orange-pink light across a pale-purple sky and clouds below. Large and small paintings provide different scales, and also make clear that not every exhibited work dates from 2026.
Kwong Wing Kwan, Midnight Sun 04:00, 2025, oil on canvas, 39 × 39 cm.
Oscar Chan Yik Long: ink, oil and two kinds of protection
Two Kinds of Protection is Oscar Chan Yik Long’s third solo exhibition at Gallery EXIT. Ink and oil paintings draw on Buddhist and Western religious figures to build his own visual universe. Chan associates the two media with different creative sensations. Technically, ink accumulates through marks and washes, while oil can build layers through applying, rubbing and washing away paint. Begin by comparing the density of black-and-white lines with the way colour separates bodies from backgrounds, before reading the figures’ symbolism.
One installation view shows five square black-and-white works along a white wall, with dense curves surrounding figures. Michael, an 80 × 60 cm oil on canvas from 2026, instead brings a winged body, upright sword and radiating light above the head forward through contrasting orange-red and blue. The difference is not simply the presence or absence of colour: contours and space are organised differently too. One set lets the eye travel through details; the other pulls attention back to a central figure. Form offers one route into the religious imagery.
Installation view of Oscar Chan Yik Long’s Two Kinds of Protection, with five black-and-white figurative images in a row.Oscar Chan Yik Long, Michael, 2026, oil on canvas, 80 × 60 cm.
Li Ning: memories become printed fragments and new worlds
Li Ning’s No Ground treats memory as material that can change, combine and be rewritten. Old and newly carved plates are printed through intaglio and relief techniques, then collaged with airbrush painting; writing further develops the images into a video narrative. The title work from 2026 measures 200 × 120 cm, stacking animal heads, tentacles, circular motifs and geometric planes vertically. Seen alongside the installation’s different-sized works, it invites attention to how fragments grow from local patterns into a larger fictional world.
Installation view of Li Ning’s No Ground, with works of different sizes in a space retaining its industrial structure.Li Ning, No Ground, 2026, airbrush painting, intaglio, relief print and collage on canvas, 200 × 120 cm.
Gallery EXIT is in Tai Sang Industrial Building, 25 Hing Wo Street, Tin Wan, Aberdeen. Note the separate third- and thirteenth-floor exhibition areas. Regular hours are Tuesday to Saturday, 12:00–18:00, except public holidays or by appointment; Sunday is outside regular opening days. Call +852 2541 1299 or check the current exhibitions and visitor information. Following colour, line and collage offers three ways to compare how the artists organise their images in one visit.
