Apple’s much-anticipated iPhone 16 doesn’t officially release until September 20 in China, but consumers in the nation are already disappointed, primarily due to the absence of key artificial intelligence (AI) features that many expected. As the tech giant faces intensified competition from local rival Huawei, the lack of AI capabilities has left users questioning the value of upgrading to the new model.
The iPhone 16 series, touted as Apple’s first AI-powered smartphone lineup, has failed to meet Chinese consumers’ expectations, especially due to the delayed local rollout of features like an AI assistant capable of summarizing users’ messages and AI-boosted image editing tools for trimming unwanted parts of photos.
Apple Intelligence, the company’s on-device AI system, will not support Chinese, Japanese, French, or Spanish until 2025. Interestingly, American English will be available in October 2024, but English-speaking users in areas like the United Kingdom, Australia and Canada will have to wait until December 2024.
On Weibo, netizens expressed widespread frustration over the iPhone 16’s lack of AI features. The hashtag #苹果AI明年支持中文 (“iPhone 16 Chinese version doesn’t support AI yet”) has garnered over 11 million views and 1,500 comments, with many users commenting that without AI as a significant selling point, the iPhone 16 should be priced at half its current cost. Netizens voiced their frustration on the social media platform, stating they’d rather wait until 2025 for iPhone 17 and questioning whether it’s worth buying an iPhone 16 when Huawei smartphones are always an option.
Netizens expressing their frustration — some highlighted the iPhone 16’s high price, while one user noted they would prefer to wait until Apple’s AI function supports Chinese in 2025. Image via Weibo.
This outcry highlights broader disappointment with Apple’s pricing strategy, especially when compared to Huawei’s competitive offerings.
Apple’s new A18 chip for the iPhone 16, utilizing advanced 3-nanometer technology, enhances performance with faster processing speeds and improved energy efficiency. However, many iPhone 14 and 15 users may not see a substantial jump in performance with the iPhone 16. In contrast, users of the iPhone 12 and older phones will benefit from significant improvements in aspects such as faster MagSafe charging and ultrawide camera capabilities.
Additionally, Apple is shifting iPhone 16 production to India to diversify its manufacturing base away from China, which may impact its supply chain dynamics and pricing strategies.
It is worth noting that Huawei’s new Mate XT, launching on September 20 — the same day as the iPhone 16 — is priced between approximately 2,800 and 3,371 USD (between 19,999 and 23,999 RMB). This price is significantly higher than the iPhone 16’s starting price, which ranges from 799 USD (around 5,650 RMB) for the base model to 1,599 USD (approximately 11,370 RMB) for the iPhone 16 Pro Max.
Huawei is set to launch its unique triple-fold phone on September 20 2024. Image via CNBC.
The Mate XT features a unique triple fold display, providing versatile screen options, along with advanced AI features. This includes an AI assistant with text summary, translation, and editing functions, as well as AI-boosted image editing capabilities like trimming unwanted parts of photos.
According to data from market research firm Canalys, Apple’s market share in the high-end market has been diminished by Huawei, and it is especially facing challenges in the Chinese mainland market.
Tencent reported that Canalys data showed that the top five manufacturers in the global high-end mobile phone market maintained growth in the second quarter of this year. Apple ranked first with a market share of 62%, but its market share in mainland China continued to decline.
While the iPhone 16 introduces new AI capabilities, its delayed features and higher price point may jeopardize its success in China. Apple needs to address these consumer concerns to maintain its foothold in a market increasingly dominated by local competitors.
When it comes to crime thrillers and dramatic shotgun scenes in Hong Kong cinema, Johnnie To is undoubtedly a master of the craft. In fact, many Chinese movie fans refer to exemplary crime films as “To-styled crime thrillers,” (杜氏警匪片) nodding to his signature cinematic aesthetic. However, it is perhaps less commonly known that To’s oeuvre also includes romantic comedies and melodramas. Altogether, his expansive career spans over four decades and includes over 70 films.
Film buffs in New York City now have a chance to experience to the breadth of his oeuvre, as from September 12 to October 13, the Museum of Modern Art is holding the retrospective screening series “Chaos and Order: The Way of Johnnie To.” The series spans the wide spectrum of his films and will offer several opportunities for conversation with the legendary director himself.
To, known to Chinese fans as “Sir To” (杜SIR), started his career training to become an actor at TVB, the local television broadcaster in Hong Kong, which jumpstarted the careers of an entire generation of film legends, including director Wong Kar-wai and actor Tony Leung Chiu-wai.
However, To soon found that his passions belonged behind the scenes and became an assistant director. It’s not hard to tell from To’s later works that he was heavily inspired by action films and Westerns, and his early forays into filmmaking as a director resembled classic Hollywood films. From there, he worked with prominent Hong Kong production company Cinema City, and directed the breakout romance movie All About Ah-Long (1989), which put his name on the map.
In the mid-1990s, frustrated by a lack of directorial autonomy, To and his collaborator Wai Ka-fai founded the production company Milkyway Image (银河映像). At the time, the financial crisis across Asia was placing economic constraints on Hong Kong’s film industry. Rather than relying on the same commercial frameworks of previous films, To and Wai drew on aspects of Hong Kong’s local culture to create a series of distinct crime movies using highly skilled cinematography. Notable films in this vein include Election (2005) and PTU (2003), both featured in the retrospective at MoMA.
To Chinese movie fans of that period, the logo of Milkyway Image was synonymous with the start of a thrilling ride into a unique cinematic world. Spanning films from 1992 to 2015, “Chaos and Order” promises to bring film fans into To’s creative vision, from psychological thrillers to heart stealing rom-coms.
When you see an incredibly tall and — even by New York standards — more chic than usual passerby entering your local coffee shop in the East Village, it’s a good sign that Fashion Week is upon us. It feels counterintuitive, but just as you put on your first sweater of the fall, models on the runway in September are showcasing brands’ Spring/Summer collections for the upcoming year. That’s fashion for you.
Of course, the real fashionistas are not wearing what everyone else is wearing. Fashion is a statement, an attitude, and an art form. So here are RADII’s picks of brands by Asian designers for your next big fashion moment, as showcased at this year’s New York Fashion Week.
Grace Ling
Model Alex Cosani opening Grace Ling’s show. Image via Hypebeast.
Designer Grace Ling, hailing from Singapore, is an up-and-coming designer but a familiar face to many Hollywood celebrities. Her Spring/Summer 2025 collection, entitled “Neanderthal,” explores the relationship between humans and natural spaces, incorporating the designer’s technology-forward craftsmanship through items such as an entirely 3-D printed top that resembles the stem of a rose.
As Hypebeast puts it, the brand’s look redefines femininity as a source of power, embracing the feminine form through rugged, primitive design elements. Model Alex Cosani opened Grace’s show in a draping gown, which boasted a softness that contrasted its metal-plated top.
Shawna Wu is a rising designer who was born Taiwan, grew up in Singapore, and is currently based in Brooklyn. Her designs have been worn by everyone from Kylie Jenner to Lily-Rose Depp on the HBO show The Idol.
Shawna’s clothing embraces both sensuality and traditional textiles and rituals — her past collections were elevated with Chinese butterfly knots and beaded jade. In an interview with Vogue Singapore, Shawna said she cares about using non-Eurocentric visual languages in her designs, while also experimenting with techniques such as 3D modeling, traditional wood carving, and metalworking.
Terrence Zhou, the designer behind Bad Binch TONGTONG, comes from Wuhan, China and lives in New York City. Though Terrence is a fashion designer, his work might be better characterized as body sculptures, which transform the human silhouette into imaginative shapes. In an interview with Metal Magazine, Terrence explained how the pandemic placed his hometown Wuhan under the spotlight and had a huge impact on him personally. His experience of not being able to return home when his family members passed away during the first wave of the pandemic led to feelings of separation and isolation, which he has expressed in his designs.
Lost Pattern, led by founder Cata Cheng and co-founder Yong Wang, is bringing 100% mulberry silk scarves to the streets of New York City. This new modern luxury fashion accessory draws on the long heritage of silk in China, where more than 6,000 years ago it was already a symbol of luxury in Hangzhou. Today, Lost Pattern’s scarves are crafted by local artisans in the very same city. At New York Fashion Week this year, the brand is unveiling its newest “La Isla” collection, bringing an ancient craft and accessory to the young, modern lifestyle of hip New Yorkers.
Kim Shui
Gymnastics Olympic bronze medalist Jordan Chiles closed out Kim Shui’s show. Image via Vogue Runway.
Kim Shui is by no means a new kid on the fashion block, but her debut menswear collection for this latest season was certainly unexpected to many. Kim’s pieces are inspired by the Japanese idea of kintsugi, a philosophy that draws from the practice of reviving broken pottery pieces using lacquer and gold powder. Kim brings ideas of resilience and unity to her designs through reworking motifs from her past collections into the current runway show.
As a Chinese immigrant who grew up in Italy and currently lives in New York, Kim is not short of cultural influences to draw upon. In an interview with Hypebeast, Kim said that her brand takes all of these elements into one big celebration. Now, Kim is ready to bring menswear into the party too.
On September 15, Ye (formerly known as Kanye West) and Ty Dolla $ign will bring their “Vultures” listening party to Haikou, China. The duo, who comprise the American hip hop supergroup ¥$, have been hosting listening parties around the world for their album series “Vultures.” The first album in the series was released February of this year, with the second released in August.
This event marks Ye’s first return to the Chinese mainland since his concerts in Shanghai and Beijing in 2008. Unlike the typical choice of major cities, the American rapper has opted for a less conventional location this time. The concert is scheduled to take place at Haikou Wuyuan River Sports Park (五源河体育场). Tickets were available on the Damai app, with prices ranging between 680 and 2,000 RMB.
Chinese fans were undeterred by these high prices. The 30,000 tickets available sold out in just three minutes leaving 225,000 fans waiting — including many Chinese rappers. Zhang Zihao (Wiz_H), a “The Rap of China 2020” participant, was one of the lucky ones, sharing his ticket to Ye’s show online. But many other rappers expressed their frustration at missing out. Securing Ye tickets has seemingly become a badge of authenticity in the Chinese rap scene.
Various Chinese rappers interact online, sharing whether or not they got tickets. Screenshot via Weibo.
One of the reasons fans in China are especially fond of Ye is that he attended school in Nanjing as a young child. Many on Xiaohongshu joke that only someone who studied in Nanjing would even know about Haikou.
Located on Hainan’s northern coast, Haikou is a port city known for its blend of Chinese and colonial European architecture, as well as its pristine beaches and lush tropical landscapes.
However, a more likely reason for choosing Haikou is its relatively relaxed approval process for holding concerts, as compared to other cities in China.
After Seoul, Haikou will be the next and only remaining “Vultures” listening party in Asia, following the cancellation of a planned event in Taiwan. Screenshot via YouTube.
Some people have expressed concern about Ye’s condition and whether he’s still up to performing a “concert.” His erratic behavior in recent years even led some concerned citizens to report him to Haikou’s tourism authorities, requesting the event be canceled on the grounds that he is a “disturbing and indecent” performer.
However, his performance in Seoul on August 23 eased many of these concerns. Despite it being a listening party where usually only pre-recorded audio would be played, West and Ty Dolla $ign performed 78 songs in total. While Ye has recently tended to wear masks in public, he showed his face throughout the show, raising hopes that these listening events may mark a partial return to “the old Kanye.”
Ultimately, Ye’s connection with China is deep, even somewhat mystical. How many songs will he perform on September 15? Here at RADII, we’re eager to find out.
In Shanghai, there’s a bustling area that comes alive at dusk. Known among theater enthusiasts as Huán Rénguǎng (环人广, loosely translating as “around People’s Square”), this area is home to a cluster of iconic theaters, including the Buick Drama Theatre in the Shanghai Grand Theatre, Star Space on the 7th floor of Shanghai Shimao Festival City, the historical Lyceum Theatre, and Shanghai Cultural Square. These venues aren’t just a draw for Shanghai residents, but also for musical theater lovers from all over China. Out-of-town fans have even coined a term, rù hù lián dǎ (入沪连打), which refers to watching several musical theater productions over the course of a single weekend trip to Shanghai. Typically, they hop on the earliest plane, train, bus or other form of transportation available after work on a Friday, arrive in Shanghai, and spend the entire weekend attending back-to-back performances. Of course, afterwards they document or post reviews of the shows they saw during their trip.
In fact, musical theater is getting so popular in Shanghai that theater fans have dubbed it the “Jerusalem” of musical theater in China. Indeed, the sheer volume of performances in Shanghai is astounding. 60% of the 9,960 musical theater performances that took place in China in 2023 were held in the city.
Shanghai’s theaters are many, and they are prolific. For example, Shanghai Cultural Square, which has been a key venue for musical theater since it was revitalized in 2011, hosted almost 20 different domestic and international productions in 2023 alone. Furthermore, with the rise of immersive theater, you can find as many as a dozen theaters, large and small, hidden inside a single commercial building, hosting multiple shows simultaneously in one evening. These smaller venues are often more affordable than larger theaters, and their intimate setting allows for closer interaction between the audience and performers, creating a collaborative atmosphere.
One theater enthusiast’s map of major Shanghai theaters. Image via Xiaohongshu.
Shanghai’s current musical theater scene began taking shape in the 1990s. Starting in 2002, the Shanghai Grand Theatre staged world-renowned productions like Les Misérables, Cats, The Lion King, and Mamma Mia! One of its most impressive milestones was 100 performances of The Phantom of the Opera in 2005.
From 2020 to 2023, with international shows unable to enter the Chinese market due to the pandemic, domestic musical theater saw unexpected growth. Original Chinese productions rapidly emerged, and the industry evolved from importing foreign shows to producing Chinese adaptations, as well as creating more original plays. The re-opening of China’s borders to foreign performers last year has created a more vibrant theatrical environment, rather than simply displacing homegrown works and adaptions. For example, in 2023 a Chinese adaptation of The Phantom of the Opera made its debut in Shanghai on May 5, while the French musical Roméo et Juliette began its China tour on May 28. These days, if you want to book a ticket for a musical in Shanghai, you can choose between multiple languages, including French, German, English, and Chinese.
Whether in venues big or small, performed in Chinese or a foreign language, musical theater has found a thriving home in Shanghai, drawing in a growing number of enthusiasts. As the recent burst of media coverage attests, theater lovers from Shanghai and beyond are thoroughly enjoying the plethora of immersive performances the city currently has on offer.
Banner image via Xiaohongshu. Image shows cast member from Roméo et Juliette posing with Chinese fans.
Art021 Hong Kong brought new meaning to the city’s art fair scene, emphasizing cultural dialogue and the impact of diverse artistic expressions. The event concluded on September 8, drawing its curtains on its Sculpture and Greater Bay Area (GBA) Art Week.
The Galleries section at the Phillips Asia Headquarters in Hong Kong’s West Kowloon Cultural District, which ended earlier, on September 1, buzzed with activity, welcoming guests and collectors. Visitors, many of whom conversed in Mandarin, navigated the bustling space, accompanied by green-jacketed guides. The atmosphere was electric, with numerous galleries reporting strong sales and lively dialogue with collectors.
With over 30,000 visitors, including more than 7,000 on opening day, the fair signaled strong interest in contemporary art among the general public, as well as from VIP collectors. The event marked the first time Art021 was held in Hong Kong after 11 successful years in mainland China. The event received approximately 15 million HKD (around 2 million USD) in funding from the Hong Kong government’s Mega Arts and Cultural Events Fund, chaired by super-collector and tycoon Adrian Cheng — the maximum allocation for any application.
This year Art021 aimed to showcase perspectives from the Global South, as depicted in the non-selling exhibition “One Thousand and One Nights,” which featured artists from West and South Asia. Images by Sebastien Raybaud.
RADII talked to fair director Priscilla Kong about the highlights of the fair, future implications for enriching the local art scene, and positioning Hong Kong as a key player in the global art market.
Art021 showcased 82 galleries from 13 countries, with 50% of those hailing from the Chinese mainland. However, it is worth noting that only 31 had booths shown in Art021’s Galleries section, with the others presenting their artists in other, non-commercial sections of the fair.
Many of these galleries have already expanded their presence to Hong Kong, Singapore, and Macao, enriching the fair and strengthening cultural ties to these vibrant art markets. However, the predominance of familiar faces at the fair led to mixed reviews from local media and even some mainland visitors, who expressed disappointment that few of the featured galleries were new.
Amidst this, Kong explained that many galleries reported that their sales exceeded expectations, and that they had fostered engaging conversations with collectors and viewers from Hong Kong and beyond. However, Art021’s representatives did not disclose specific sales figures.
Kong added that the fair aimed to promote diverse perspectives by highlighting artists from the Global South, showcasing artworks from West Asia, Southeast Asia, and Africa. This initiative represents a commitment to facilitating dialogue between Hong Kong and a variety of cultural domains beyond the current art market landscape.
The fair director emphasized, “One of our visions is to develop Hong Kong into a cultural hub for the Global South by fostering discussions that encompass a variety of cultural perspectives.”
But how so?
Iranian artist Pooya Aryanpour’s Elysian Fruit 7 (2022). Image via the artist and Dastan Gallery. Wu Dayu was a visionary oil painter from 20th-century China, who liked to blend elements such as shape, light, and color, as shown in this Untitled piece. Image via Art021 Hong Kong. Edgar Plan’s The Race (2024), featured during the fair. Image by Sebastien Raybaud.
Among the notable highlights of the fair was the non-commercial curatorial project “One Thousand and One Nights,” inspired by the famed collection of Middle Eastern folktales. This exhibition featured acclaimed artists from the Middle East and South Asia including Tala Madani and Pooya Aryanpour from Iran, as well as India’s Shilpa Gupta, fostering important dialogue among Global South art communities.
Additionally, the fair showcased major talents from Chinese modern and contemporary art, such as Wu Dayu, an early pioneer of Chinese abstract painting, and influential contemporary artists Xue Song and Yu Youhan.
According to Artnet, the majority of works on display at the fair were paintings, with prices ranging between 10,000 USD and 60,000 USD. Some galleries brought higher-priced works, including a large oil painting by He Duoling priced at 3.8 million RMB (537,000 USD) and Zhou Chunya’s acrylic on-paper painting, which quickly sold for 700,000 RMB (98,687 USD).
A work from Three’s “Game Boy Pocket Display” series, 2023, at Whitestone Gallery’s booth. Photo by Sebastien Raybaud.Thai artist Kitty Narod’s Salsa Dance (2024). Image by Sebastien Raybaud. Hong Kong street artist Christopher Ko’s Bonds (2024), was a live performance on the third floor of the Galleries Section. Image by Sebastien Raybaud.
While prominent names like Yayoi Kusama, Edgar Plans, and Thai artist Kitty Narod drew attention, the fair also featured an intriguing blend of local and international talent that appealed to younger audiences.
With an average artwork price below 50,000 USD, some galleries focused on pieces that resonate with younger collectors. The Japanese artist group Three’s “Game Boy Pocket Display” series, on display at Whitestone Gallery’s booth, seemed aimed at the tastes of young collectors, who may have grown up with the gaming device.
Elsewhere, street artist Christopher Ko’s commissioned live art piece Bonds (2024) reflected Hong Kong’s spirit. The work portrays hands interwoven around the city’s iconic Bauhinia flower, symbolizing resilience and hope in the city’s evolution from fishing village to metropolis.
Works by Michael Lau, known as the Godfather of Designer Toys, were also prominently featured. Previously showcased at K11 Musea’s “Splendid Park” exhibition, his creations, including the Flower Series: Big Flower Pot (2022) and Just Done It Series: La Main Gauche De Dieu (2011) sculptures, offered playful interpretations of Vincent van Gogh’s iconic floral muses and Nike’s famous Just Do It motto.
Michael Lau, Flower Series: Big Flower Pot, 2022. Image by Sebastien Raybaud.Robert Indiana’s LOVE (1966-1999, top) and Joy Brown’s Animal with Rider (2012, bottom) sculptures brought a livelier atmosphere to Victoria Park, Causeway Bay. Images by Sebastien Raybaud.
Kong noted that the fair was also held at various cultural landmarks across Hong Kong — namely Victoria Park, the Fringe Club, and Asia Society, to enliven the city with artistic inspiration and engage diverse audiences. She added that Art021’s vision was to combine a fair with a biennale, creating a city-wide art week that celebrates creativity.
The fair’s presence in Victoria Park came in the form of a dedicated Sculpture section. It showcased striking public installations that encouraged interaction and contemplation, underscoring the importance of public art in fostering cultural dialogue and accessibility.
Among the standout works were Pace Gallery’s presentation of Robert Indiana’s iconic piece, LOVE (Red Outside Violet Inside, 1966-1999), which utilizes bold colors and language-based conceptualism to express the universal power of love.
Meanwhile, Joy Brown’s series of captivating sculptures like Animal with Rider (2012)invited viewers to engage with their playful forms. These pieces contributed to the park’s vibrant atmosphere, which was free for the public to visit.
Farrokh Mahdavi’s eerie Untitled (2019) aims to defamiliarize well-known facial elements. Image via the artist and Dastan Gallery.
The goal of GBA Art Week is to promote cooperation between the thriving Guangdong-Hong Kong-Macao Greater Bay Area art community and the Hong Kong art market. Organizers of Art021 have established strong relationships with institutions, galleries, and collectors in the region through their experience in planning art fairs in Shenzhen.
By collaborating with these galleries, Art021 has facilitated the invitation of VIPs to the fair, fostering introductions to the diverse exhibitions and programs available in the area. In the Greater Bay Area region, particularly in Shenzhen, there has been in a notable increase in art collecting and financial support for art and culture in recent years. Through Art021, the aim is to create a culturally-driven exchange between mainland Chinese and Hong Kong audiences, allowing each arts ecosystem to flourish.
Looking ahead, Art021 envisions itself as a catalyst for establishing closer ties with galleries, institutions, and collectors from the Global South — including West Asia, Southeast Asia, and Africa. With this initiative, the fair hopes to present more comprehensive content in the future, solidifying its role as a vital platform for cultural exchange and artistic dialogue.
“Hong Kong is a significant location for the art market; we hope to enhance its positioning as a cultural hub for the Global South by strengthening cultural discourse,” Kong concluded.
