Friday, July 24, doors 7:30, Show at 8 $10-20 pwyc Open Systems Studios 47 Portland st 3rd floor, Portland MD
Friday the 24th at Open Systems Studios!
Joe Moffett approaches his work with an interest in unconventional sounds and forms and the integration of improvisation and collective composition into a musical praxis. He is cofounder of the trio Earth Tongues, with percussionist Carlo Costa and Tubist Dan Peck, as well as Windscour with Zach Rowden and a trumpeter synth duo with Cecilia Lopez.
Bonnie Han Jones is a Korean American improvising musician, poet and educator working primarily with electronic sound and text. She performs solo and in many collaborative music, film, and visual art projects. Bonnie was a founding member of the Transmodern Festival and CHELA Gallery and board member of the High Zero Festival collective. In 2010 along with Suzanna Thorpe she co-founded TECHNE, an organization that develops anti-racist, feminist workshops that focus on technology-focused art making, improvisation, and community collaboration. She has received commissions from the London ICA, Walters Art Museum and has presented her work at institutions across the US, Mexico, Europe, and Asia.
Support by electronic experimental duo Hospital Ship.
Friday, July 10, from 5 to 7 p.m The University of New England Art Gallery Portland, ME
The University of New England Art Gallery in Portland will present “Arrows & Operators: Visual Debates in Music,” a new exhibition exploring the intersection of visual art and experimental music, opening at the Gallery on UNE’s Portland Campus for the Health Sciences.
The exhibit, which opens July 10 in tandem with a live performance of selections from Cornelius Cardew’s landmark graphic score, “Treatise,” uniquely juxtaposes the score with works by contemporary artists, taking an innovative approach to highlighting the phenomenon of visual information.
UNE’s presentation is the first to reimagine Cardew’s score as “a total spatial environment through a series of murals in the gallery,” said UNE Director of Galleries and Exhibitions Hilary Irons. Those murals will be used as a score during the live concert that will take place on July 10 at the exhibit’s opening reception, a performance Irons calls “an important and rare performance of a crucial piece of modern experimental musical score,” which was composed between 1963 and 1967.
“This show is exciting in the context of UNE, as it plumbs the meanings around visual information systems and the diversity of thought that goes into the process of envisioning information,” said Irons about the exhibit that was co-curated by John Fireman and Akiva Zamcheck.
“Across many disciplines in the sciences and humanities, visual information systems are a dynamic and ever-changing form of communication,” Irons added. “Caredew’s work, and that of the contemporary artists in ‘Arrows & Operators,’ exemplifies the creativity that goes into graphic mechanisms.”
The upcoming performance, which features musicians from New York City, Baltimore, and Maine, may well be one of the few performances of “Treatise” ever performed in Maine, Irons said. In addition, the concert marks the first time a live performance will be part of a UNE Art Gallery exhibit opening.
Participating artists are CF, Phillip Greenlief, Frank Mauceri, and Lauren Tosswill. The musicians performing selections from “Treatise” include Greenlief, Mauceri, Jeremy Brogan, Sigrid Harmon, Tessa Irons, Bonnie Han Jones, and Cleek Schrey.
The exhibit also speaks to an innovative time in musical history that began 75 years ago. In the 1950s, composers in search of new sounds began to experiment with alternative ways of visualizing sonic thought, explained Fireman. “‘Treatise’ functions here as both a visual and conceptual anchor, opening up larger questions of how information is imagined, structured, and shared, when seeking to describe what lies beyond the constraints of language,” Fireman said.
The reception and concert will be held on Friday, July 10, from 5 to 7 p.m. It is free and open to the public. The gallery is otherwise open Thursday to Sunday from noon to 5 p.m. or by appointment.
IMS Presents: Bonnie Han Jones, Jeff Arnal, Ken Vandermark 2 Sets Sunday, June 7, 2026 8:00 PM Elastic Arts, Chicago, IL
We’re excited to present a special Sunday night Improvised Music Series event with two sets from the trio of Bonnie Han Jones, Jeff Arnal, and Ken Vandermark!
Bonnie Han Jones (electronics/voice), Jeff Arnal (drums/percussion), and Ken Vandermark (saxophones/clarinets) reconvene to celebrate their first collaboration, Signal Otherwise, the 67th edition in the Catalytic Sound Artist Albums series. The music was recorded at Experimental Sound Studio in December of 2022. Its seven pieces are an amalgamation of many things: individual music histories, pitch and texture, arrhythmic phrasing and pulse, fervent declamation and introspection, which results in an electroacoustic document unique in the discographies of all three musicians. This concert is a rare occasion to hear these three musicians working together through improvisation and experimentation over the course of two sets.
Signal Otherwise is now available to the public as part of Catalytic Sound’s CAA Fundraising program and all proceeds from sales of this digital album go toward Beloved Asheville (www.belovedasheville.com), “a trusted, grassroots, and equity-focused organization. With over fifteen years of experience in movement building and advocacy for human rights, the organization’s success is credited to the ability to build relationships, create visible change, and generate community-led momentum for collective action.”
$15 / $10 w/ Student ID – Tickets Available at the Door
Artist Bios
Bonnie Han Jones is an Korean American improvising musician, poet, and educator working primarily with electronic sound and text. She performs solo and in numerous collaborative music, film, and visual art projects. Bonnie was a founding member of the Transmodern Festival and CHELA Gallery and board member of High Zero Festival collective. In 2010, along with Suzanne Thorpe she co-founded TECHNE, https://technesound.org/, an organization that develops anti-racist, feminist workshops that center on technology-focused art making, improvisation, and community collaboration. She has received commissions from the London ICA and Walters Art Museum and has presented her work at institutions in the US, Mexico, Europe and Asia. Bonnie was a 2018 recipient of the Foundation for Contemporary Arts Grants to Artists Award. Born in South Korea, she was raised on a dairy farm in New Jersey, spent her formative years in Baltimore, Maryland and currently resides in Chicago, IL on the nceded homelands of the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations.. https://bonnie-jones.com/
Jeff Arnal is an American percussionist, composer, and community organizer working across experimental, improvised, and interdisciplinary music. His practice is shaped by over three decades of work in contemporary classical music, jazz, and free improvisation, and by long-term collaborations centered on listening, structure, and ensemble interaction.
Recent work includes Drum Major Instinct (Mahakala Music, 2022; Haunted Apparatus, 2025) with Curt Cloninger, featuring guest collaborations with Katherine Young and performances at venues including the Big Ears Festival. He is active in Chrononaux, an ensemble with Camila Nebbia, Dietrich Eichmann, and John Hughes, developed through long-term collaborations across the U.S. and Europe.
He maintains a long-standing duo with Dietrich Eichmann, released on NoBusiness Records (Tides of Unrest, 2023), and a decades-long collaboration with saxophonist John Dierker, documented on Mahakala Music (Astral Chronology, 2023).
Arnal is Executive Director of the Black Mountain College Museum + Arts Center in Asheville, North Carolina, where he has led exhibitions, performances, residencies, and research initiatives since 2016.
Ken Vandermark (USA 1964) is an avant-garde composer, improviser, saxophonist/clarinetist, curator, and writer whose unique history has given him the opportunity to perform extensively and record with key figures of the AACM (Fred Anderson), New York’s Downtown scene (Ikue Mori), FMP (Peter Brötzmann), the English improvisers scene (Paul Lytton), post-punk (Terrie Ex), Ethiopian music (Getachew Mekuria), and free jazz from Japan (Akira Sakata). He’s been the director of the Catalytic Sound musician cooperative since 2012, has run Audiographic Records since 2014, in 1999 was awarded a MacArthur Fellowship in music, and in 2024 he curated the Music Unlimited Festival in Wels, Austria. Vandermark moved to Chicago from Boston in 1989 and has worked continuously from the early 1990s onward, both as a performer and organizer in North America, Europe, Latin America, Japan, and Ethiopia, recording in a large array of contexts, with many internationally renowned musicians.
May 16, 2026 Graham Foundation, Madlener House 4 West Burton Place, Chicago, Illinois 60610
For Lampo, Jones has created a work inspired by the tradition of Korean pansori—a musical genre incorporating song, story, and gesture—and the sonic ritual practices of female Korean shamans (mudang).
a place where many people gather (soundings) is a quadraphonic performance that considers how sound, heard in shared listening spaces, transforms listeners’ relationships to history, to each other, and to place. Jones draws on archival recordings, uses circuit-bent instruments, transducers, and inductors, and works with metal, glass, and voice.
Pansori is a compound of the Korean words pan 판 and sori 소리, the latter meaning “sound.” Pan is thought to refer either to a song with many tones or to a situation where many people gather, reflecting the format of the pansori performance, which usually lasted three to eight hours and took place in public, communal spaces. The pansori singer is an oral historian, carrying the past into the present.
With guest contributions from Kate In.
Bonnie Han Jones (b.1977, Seoul, South Korea) is a Korean American improvising musician, poet, and educator working primarily with electronic sound and text. Her work is iterative, multidisciplinary, and typically involves building concepts through research and study and then moving these ideas through a variety of different mediums, methods, and forms. She uses electronic music, recorded sound materials, text, video, performance, and score with attention and focus on listening and improvisation as a core theme and generative method. The work broadly explores noise, sonic identity, listening as thinking, and sound as knowledge.
She performs both solo and in a wide range of collaborative music, film, and visual art projects. Jones was a founding member of the Transmodern Festival and CHELA Gallery and has been a board member of the High Zero Festival collective. In 2010, with Suzanne Thorpe, she co-founded TECHNE, an organization that develops anti-racist, feminist workshops focused on technology-based art making, improvisation, and community collaboration.
Jones has received commissions from the ICA, London, and the Walters Art Museum, Baltimore, and has presented her work widely throughout the United States, Mexico, Europe, and Asia. She was a 2018 recipient of the Foundation for Contemporary Arts Grants to Artists Award. Born in South Korea, Jones was raised on a dairy farm in New Jersey, spent years in Baltimore and Providence, and is currently based in Chicago.
Jones last performed for Lampo in December 2022. She is also a Lampo Folio contributing artist.
Presented in partnership with the Graham Foundation
I’ll be presenting my work as part of the Saturday Symposium Curated-Call Practice-Based Research Presentations Saturday, April 11 | 9:30 AM – 1:30 PM | Logan Center for the Arts Penthouse (901)
Presenters: § Ty Bouque § Bonnie Han Jones § Stephan Moore § Hannah Kemp-Welch from Shortwave Collective § Shawn Decker § Kelley Sheehan § Scott Rubin § Katinka Kleijn
About Critical Sounds
The Composition and Sound Practices program and SPIL at the University of Chicago Music Department present Critical Sounds (April 9th – 11th, 2026).
Critical Sounds is a symposium/festival presenting work situated at the intersection of sound studies, the composition/installation/performance of sound practices, and electroacoustic music produced through critical, experimental, and interdisciplinary approaches. The program aims to bridge academic inquiry with vibrant artistic practice.
The event features a keynote lecture by Gascia Ouzounian — one of the most important voices in sound studies today — alongside performances by boundary-pushing sound artist Evicshen (Victoria Shen) and Chicago house music queen DJ Lady D. Heather Roche, clarinetist and extended-techniques specialist, performs a program of contemporary music composed by UChicago students, and Shortwave Collective leads a hands-on workshop, presented by Patchbent at Experimental Sound Studio, in DIY radio construction and feminist sonic practice.
The symposium also presents a curated selection of practice-based research presentations, open studios featuring installed works by UChicago students, and performances by UChicago students, faculty, and Chicago sound practitioners. All events are free and open to the public.
Critical Sounds is presented in partnership with Arts + Public Life, a neighborhood platform for arts and culture in Washington Park, and Franke Institute for the Humanities at UChicago, and in partnership with Patchbent and Experimental Sound Studio. Events will be hosted at the Green Line Performing Arts Center & Arts Incubator, Logan Center for the Arts Performance Penthouse (901), Experimental Sound Studio (ESS), and Fulton Hall in Goodspeed Hall at the Music Department of UChicago.
Description In this workshop, participants will work with Bonnie Han Jones to build electromagnetic inductor pickups. Then Bonnie will present a workshop on using noise and feedback as an improviser and sound artist, walking through her performance setup and showing techniques for creating no-input sound with mixers and pedals.
Donate-what-you-can; open to the public. RSVP required.
PRESENTER Bonnie Han Jones is a Korean-American improvising musician, poet, and educator. Her work is committed to an interdisciplinary approach that incorporates text, sculpture, and video, but grounds itself in an improvised electronic noise and sound practice.
ABOUT Patchbent is a meeting place and learning community supporting women, trans, and non-binary people in sound and music. Each session features a workshop in sound technology presented by working artists.
Feb 14th 2026 Elastro: Westerlund/Hagen, Bonnie Han Jones, Clinkman/Greene @ Elastic Arts 3429 W Diversey Ave, #208, Chicago IL, 60647 Opening Saturday, February 14th, at 8PM
Our February Elastro team welcomes a traveling trumpet/percussion duo and two sets from Chicago mainstays.
A duo ensemble born from a childhood friendship in the midwest, Joe Westerlund and Trever Hagen have merged their solo work on drums and trumpet into a distinct sound world of melodic, rhythmic and lush electroacoustic texture. The pair pays respect to this instrumentation’s historical context, while reaching further into sonic geographies with their shared voice. Their forthcoming debut release on Totally Gross National Product consists of four compositions born and molded from sprawling improvisations during a winter tour in late 2024.
Bonnie Han Jones is an Korean American improvising musician, poet, and educator working primarily with electronic sound and text. Her work is iterative, multidisciplinary, and typically involves building concepts through research and study and then moving these ideas through a variety of different mediums, methods, and forms. Born in South Korea, Bonnie Han Jones was raised on a dairy farm in New Jersey, spent her formative years in Baltimore, Maryland and currently resides in Chicago, IL. https://bonnie-jones.com/
Brothers in cryptic guitar practices, Andrew Clinkman and Will Greene share a common lineage on the fretted chordophone yielding a nigh telepathic chemistry between the two. Together they weave a sound fabric that is melodic and textural.
$15 / $10 w/ Student ID – Tickets Available at the Door
Tiger Strikes Asteroid, Greenville presents Retranslation , a group exhibit and critique of colonialism and the traditional archive. Artists Rosalba Breazeale, Bonnie Han Jones and Benjamin Lundberg Torres Sanchez each cultivate a community influenced by their own personal journeys as transnational adoptees. By breaking apart stereotypical narratives through the creation and translation of their own archives, they challenge the trope of adoptees lacking identity. Together, these artists utilize their intersectional positionality to examine indigeneity, activism and identity in their work, their in-betweenness becoming both end point and a catalyst for agency.
Rosalba Breazeale (they/them, b. 1989) is an artist, educator and studio director. Their multidisciplinary art practice encompasses analog, digital and alternative process photography, soft fiber sculpture and installation with an emphasis on regenerative practice. Breazeale’s identity as a Queer, Jewish, transnational adoptee from Peru forms the foundation from which they create work addressing connection to land, diasporic experience, European colonization and related environmental issues.
Bonnie Han Jones (she/her, b. YEAR) is a Korean American improvising musician, poet, and educator working primarily with electronic sound and text. Jones’s work is iterative, multidisciplinary, and typically involves building concepts through research and study and then moving these ideas through a variety of different mediums, methods, and forms. Jones uses electronic music, recorded sound materials, text, video, performance, and score with attention and focus on listening and improvisation as a core theme and generative method.
Benjamin Lundberg Torres Sanchez (they/them, b. 1987, Bogotá) uses their art to transform individual witness into collective action. As a person who was separated from their first family for 28 years through a private, transnational adoption process, they co-create spaces that encourage people to express truth to power by working together in shared knowing and practice.
VOLTAJE, Salón de Arte y Tecnología Bogotá, Colombia 11/20 – 11/23 2025
SAIC Art & Technology / Sound Practices is thrilled to participate in VOLTAJE: Art & Technology Salon in Bogotá, Colombia!
Our students and faculty are joining an international community of artists, technologists, and researchers to share work, exchange ideas, and build new connections across creative and cultural ecosystems.
With colleague Kristin McWharter I will be presenting “A Sensory Improvisation”
A Sensory Improvisation is a new collaborative performance by Kristin McWharter and Bonnie Han Jones presented at Voltaje Festival. Blending interactive extensions of the body and improvised experimental sound, the work explores how technology mediates intimacy, perception, and touch. Inspired by Erin Manning’s Not at a Distance: On Touch, Synaesthesia, and Other Ways of Knowing, the project reimagines touch as a relational and distributed sense. The performance transforms sight and sound into a shared sensory field. Through live interaction and responsive media, the artists invite audiences to experience distance as relation; where the boundaries between bodies, machines, and perception dissolve into a choreography of synesthetic attention.
Bonnie Han Jones 
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