αααααααα αΎα (α’α α’α₯)
ααα Madeleine Flynn, Tim Humphrey αα·α αα»α ααΈααΌ ααΆαα½α αααΆαα αααααΆ
ααααΆααααααα»αααααΎαααααΉαααΈααΆαα
ααα‘ααα
ααα½α α‘α ααα»αααα·α αα·ααααααΆα
ααααΌαααΌα Whalers Tunnel ααΈαααα»α Fremantle
αα ααααα Fremantle Biennale α’α α’α₯
Β«ααααβαααα αΎαΒ» ααααβααααΆαβααααΌαβααΌα Whalers Tunnel αα ααΆβααΆαααΆαααααΆαβααΆαβααΈαα·αββαα½α αααααβαααα αΎα ααααΆαα αα·αβααααΆααααααΌαβαα βααΆαβααααααβ βαααααΎαβα‘αΎαβαααβ Madeleine Flynn, Tim Humphrey (α’αΌααααααΆααΈ) αα·α αα»α ααΈααΌβ ααΆαα½αβ αααΆαα αααααΆβ (ααααα»ααΆ) βααααΆααβααααα»αβααα‘ααβ αα·αβα ααααΆααβ αααβααααβααααΆαβααα βαα½αβαααβ ααΊααΆβαααααΎβαααααααααΆααβααβααΆαβααααΆααβ ααΆαααααΆαβ αα·αβααΆαβαααααααααΆαβααΆααααΈαβ
ααααΆαααααβ βαααβααΎααΆαββα’αα»ααααβαααααΆαβαα αααα»αβααααααβααααα»ααΆβ αα·αβα’αΆαααΈβα’αΆαααααα αααβααααβααααβα¬βαα»αααβααα·αααββααβαααααβααααααααββααβαα»αβααααααα»ααα·αβααΎαααΎβββααΎααααΈβββαααααααΆβααΆαααΆαβα βα ααααβαα ααΈααα ααααααβαααααΆαβαααααΉαααααΌα β-ααΆαβααΆααβααΆααβαααααΉαβ βαααβααΆαααααα ββααΌαβααααΆ Kodjeningara αα ββααΆαβαα·αααΈβααβαααα Western Australia αααα»αβααααααΆαβααα·α αβαααβαααααΆααβααααΌαβααΌα α αΆααβααΌα ααΆβαααβαααααΊβααααΆααβαααΆααβαα βαααα»αβαααααα
ααα‘αααααΆααα αΌααααα»αβααααΌαβααΌαβααΆααααααα ααΆαβα§αααααβααααβααα‘ααβαα·αααααΆα αααααΊααα‘ααβααααΎαβααβαα ααΉαββααααΏαβαα·αβαα·αββαααααβαααββαααα»αββααααΆααααααΌαβ αα·αβααααβααααΆαβααααΌαααΌαβαααβαα ααΆβααααααβαα½αβαααβααα‘ααβααΆαβααΈαα·αα βαααααβαααβααΆαα½αβααααΌαααΌαβααΌα ααΆβα§αααααβαααααααΈ α αΎαβααΆβααααβαααα½αβα₯αβααΆα αβ ααΈβαα½αβααΆααΈβαα βαα½αβααΆααΈ ααΈβαα½αβααααβαα βαα½αβαααααβ
ααααΌαααΌαβ Whalers Tunnel αααβ ααΊβααΆααΈααΆαααααααααα·ααΆαααααβααββααααΆααβαα·αβααΆαβαααααααα½αα ααααβαααβαααβααααΌαβααβα ααβααΆβααααΌα αααααΆααβααααααΆααΆα αα·ααααααααβααααΆαβααααΈβααΆα‘ααα βααααΆαα Β«ααααβαααα αΎαΒ» αα·αβααα·αααβα’αααΈβααααααβαααααααα·ααΆαααααβααΆαααααβααβ ααβααα’ααβααΎααΆβααΆαα½αβααΉαβααΆααα·ααΆαβααααΆαβααααααααβ αα·αβααΆαβααβα α·αααβαα»αααΆααα βααααΆααβααα α’ααααΎαβα’αααβα±ααβααΎαβααααααΆαα αααβ α’αααα»α βαα·αβαααααΆαβα βααΎααααΈβααα½αββααΆαββα’αΆααααααββααααΈβαα»αβααΈβαα»αβα’αααΈβααααΌαβααΌαβαααα
αααααααΈ βMaddie βαα·α ααα Timβ αααααΎαβααα·ααΆααΆαβααΌααααααβαααβββααααΆααβααααΌαβααααβαααβααΎαβααααΆααα α ααααβααα ααΈααΌ βαα·α ααα αααααΆ βααΆαβααβααΌαβααΆαααΆαβαααααβααΎβαα ααααβααΈβααααα»ααΆ αααβαααααΎαβα‘αΎαβαααβααΆαβα αα αΆα βαα·ααΈ βαα·αβααΆαβααααΆααααααΌαβαααααα αα½αααβαα½αααααΆβααα’ααβααΎβααααα ααΆβα’αααβααβαααααΆααβααααβααΆααβααααα αα·αβααΆαβαααααΉαα
α’ααααααααααααα½ααα·αααααααααα αα·ααααααα·ααΈααΆααΆαααα αααΆαα αααααΆ
αααα½αααΆααα·ααααααααααα ααΆα αα·αααααΈααΆ, ααΆαα αα»ααα
αααααααΈααα Winter McQuinn, Helen Svoboda
αα·αααααααααα‘ααα Pat Telfer, Sydney Rd Studio
αα
ααΆα§αααααααααααα‘ααα Robert Larsen
αα
ααΆααααααααααα‘ααα Tom McKeand
Exhalation (2025)
by Madeleine Flynn, Tim Humphrey, and Vuth Lyno with Pal Panha
Site-specific installation
10-channel sound, papers
Whalers Tunnel, Fremantle
Fremantle Biennale 2025
Exhalation turns the Whalers Tunnel into a living organism β one that breathes, listens and shifts with the wind. Created by Madeleine Flynn, Tim Humphrey (Australia) and Vuth Lyno with Pal Panha (Cambodia), this immersive sound and sculpture installation is a quiet act of listening, care and renewal.
The work draws on a ritual practiced in Cambodia and across Southeast Asia, where Buddhist monks wrap orange cloth around trees in gestures of protection and care. Here, thousands of golden paper forms β echoing the form of the Kodjeningara flower from WAβs South West β flutter across the tunnel like flickers of light on the wind.
Sound enters on the breeze. Kinetic speakers respond to shifting wind currents, turning the tunnel into a space where sound is alive. The wind plays the tunnel like an instrument, and the installation shifts moment by moment, hour to hour.
This is a site heavy with histories: carved stone, prison walls, whaling ports. Exhalation doesnβt deny that weight β it leans into it, offering a counter gesture of tenderness and attention. It invites you to walk through, pause, sit, stay. To feel the tunnel differently.
Flynn and Humphrey create award-winning sonic environments that reshape how we listen. Vuth and Pal bring a deeply embedded, community-centred Cambodian practice shaped by memory, ritual, and social transformation. Together, they lean into the wind β as a practical and spiritual enabling of change.
Visual art and public program coordinator: Pal Panha
Visual art assistants: Leang Titnita, Phan Sophorn
Musicians: Winter McQuinn, Helen Svoboda
Recording engineer: Pat Telfer, Sydney Rd Studio
Moving speaker design: Robert Larsen
Sound system design: Tom McKeand