liana show franklin ave-edits-ldp-9717-2


ensemble member (2018 - 2019)

Jonah Udall, dir.

ECHOensemble is an evolving landscape of movement and sound. Our work is a living creation of the space and time it occupies. Directed by Jonah Udall, ECHOensemble comes together in an awareness-based practice called SHIFT, born from Mary Overlie's Viewpoints, Steve Reich’s process music, and Pauline Oliveros’ Deep Listening, and years of messy research.



performer and curator (2019 - present)

Tyler Cunningham and Robert Fleitz, dir.

PROMPTUS is a transdisciplinary collective of performers and performance-makers committed to curating community-focused happenings. Founded by Robert Fleitz and Tyler Cunningham in 2018, each event poses an instigating question which is interpreted by a curator through performance, pedagogy, composition, or a combination of all three. By asking artists to work in modalities other than their own rigorously trained discipline, a space of vulnerability is created that allows for an audience to engage with complex forms in new and equitable ways.

In April 2019, Liana curated PROMPTUS III: what to call the space between our pillows. The performance aimed to examine cultural and personal definitions of intimacy through sound, movement, prose, and projection-based works. The installation/performance seeks answers to questions such as how do we perform intimacy?, does your definition of intimacy match my definition? and how does our understanding of intimacy warp in digital space?

The work synthesized the multitudes of viewpoints from the performers, creating a shared  space that examined the definition of intimacy in a modular performance, dimly lit and close to the audience. An emotionally withheld duet between two dancers occupies the main space, two bodies in relationship that can never quite connect. On either side, two live musical performances uncover the warmth and the cold of love between two people. An Intimacy Training video plays in one corner of the room, while in another audience members are invited to be blindfolded and led submissively through a treacherous landscape. And in another room, two podcast hosts are elevated to religious figures, while Twitter live-manipulates a audio-visual installation. The audience chooses which elements of the performance to consent to, thus practicing the basic modality of their own intimate experience. PROMPTUS III: what to call the space between our pillows, featuring performances by Luca Devlyn, Tyler Cunningham, Fiona Robberson, Darian Thomas, Carlos Aguilar, Joshua Mastel, Can Wang, Claire Fleitz, and Jasminn Johnson

-Robert Fleitz

Liana has performed and collaborated in the creation of:

PROMPTUS I: what does it mean to watch and be watched

curated by Robert Fleitz

PROMPTUS II: when are we supposed to clap?

curated by Julie Zhu

PROMPTUS III: what to call the space between our pillows?

curated by Liana Kleinman

PROMPTUS IV: where's the party?

in collaboration with Work Heights 

PROMPTUS V: civil/nautical/astronomical

curated by Lou Sheppard


Qingni Qinmin

performer, September 2018, May 2019

Qinmin Liu, chor.

Chambers Fine Art, PINTO Museum

QINGNI QINMIN is an immersive installation and performance conceived by artist Liu Qinmin, and marks the second chapter in an ongoing research-based work “REAL PLAYER 56.” The artist positions herself as a cultural contradiction, mixing autobiographical story-telling, choreographed movements, music, sculpture, and the allure of entertainment. The artist and five dancers will articulate personal takes on everyday cultural conflicts through Chinese folk dance, hip-hop choreography, Chinese ethnic costuming, global pop music, and handmade wearable objects. The project reinvestigates the idea of authenticity in any claim to “real culture,” and introduces unexpected hybrids from genres previously considered utterly unrelated. Creating REAL PLAYER 56 project has been a unique writing process for the artist. It is fictional, fragmented, improvisational, and funny as it is real. It lends a delirious new voice to those who always had to do so through mastering other “languages.”