αžŠαŸ†αžŽαž€αžŠαž„αŸ’αž αžΎαž˜ (្០្αŸ₯)

αžŠαŸ„αž™ Madeleine Flynn, Tim Humphrey αž“αž·αž„ αžœαž»αž’ αž›αžΈαžŽαžΌ αž‡αžΆαž˜αž½αž™ αž”αŸ‰αžΆαž›αŸ‹ αž”αž‰αŸ’αž‰αžΆ
αžŸαŸ’αž“αžΆαžŠαŸƒαž”αž„αŸ’αž‚αž»αŸ†αž†αŸ’αž›αžΎαž™αžαž”αž“αžΉαž„αž‘αžΈαžαžΆαŸ†αž„
αžŸαŸ†αž‘αŸαž„αž…αŸ†αž“αž½αž“ ៑០ αž”αŸ‰αž»αžŸαŸ’αžαž·αŸ αž“αž·αž„αž€αŸ’αžšαžŠαžΆαžŸ
αž•αŸ’αž›αžΌαžœαžšαžΌαž„ Whalers Tunnel αž‘αžΈαž€αŸ’αžšαž»αž„ Fremantle
αž˜αž αŸ„αžŸαŸ’αžšαž– Fremantle Biennale ្០្αŸ₯

Β«αžŠαŸ†αžŽαž€β€‹αžŠαž„αŸ’αž αžΎαž˜Β» αž”αŸ’αžšαŸ‚β€‹αž€αŸ’αž›αžΆαž™β€‹αž•αŸ’αž›αžΌαžœβ€‹αžšαžΌαž„ Whalers Tunnel αž‘αŸ…αž‡αžΆβ€‹αžŸαžΆαžšαž–αžΆαž„αŸ’αž‚αž€αžΆαž™β€‹αž˜αžΆαž“β€‹αž‡αžΈαžœαž·αžβ€‹β€‹αž˜αž½αž™ αžŠαŸ‚αž›αžŠαž€β€‹αžŠαž„αŸ’αž αžΎαž˜ αžŸαŸ’αžαžΆαž”αŸ‹ αž“αž·αž„β€‹αž•αŸ’αž›αžΆαžŸαŸ‹αž”αŸ’αžαžΌαžšβ€‹αž‘αŸ…β€‹αžαžΆαž˜β€‹αžαŸ’αž™αž›αŸ‹αŸ”β€‹ β€‹αž”αž„αŸ’αž€αžΎαžβ€‹αž‘αžΎαž„β€‹αžŠαŸ„αž™β€‹ Madeleine Flynn, Tim Humphrey (αž’αžΌαžŸαŸ’αžαŸ’αžšαžΆαž›αžΈ) αž“αž·αž„ αžœαž»αž’ αž›αžΈαžŽαžΌβ€‹ αž‡αžΆαž˜αž½αž™β€‹ αž”αŸ‰αžΆαž›αŸ‹ αž”αž‰αŸ’αž‰αžΆβ€‹ (αž€αž˜αŸ’αž–αž»αž‡αžΆ) β€‹αžŸαŸ’αž“αžΆαžŠαŸƒβ€‹αž”αž„αŸ’αž‚αž»αŸ†β€‹αžŸαŸ†αž‘αŸαž„β€‹ αž“αž·αž„β€‹αž…αž˜αŸ’αž›αžΆαž€αŸ‹β€‹ αžŠαŸ‚αž›β€‹αž”αŸ’αžšαŸ‚β€‹αž€αŸ’αž›αžΆαž™β€‹αž›αŸ†αž β€‹αž˜αž½αž™β€‹αž“αŸαŸ‡β€‹ αž‚αžΊαž‡αžΆβ€‹αž‘αž„αŸ’αžœαžΎβ€‹αžŸαŸ’αž„αŸ€αž˜αžŸαŸ’αž„αžΆαžαŸ‹β€‹αž“αŸƒβ€‹αž€αžΆαžšβ€‹αžŸαŸ’αžαžΆαž”αŸ‹β€‹ αž€αžΆαžšαžαŸ‚αž‘αžΆαŸ†β€‹ αž“αž·αž„β€‹αž€αžΆαžšβ€‹αž”αž“αŸ’αžαžšαžŸαŸ‹αžšαžΆαž“β€‹αž‡αžΆαžαŸ’αž˜αžΈαŸ”β€‹

αžŸαŸ’αž“αžΆαžŠαŸƒαž“αŸαŸ‡β€‹ β€‹αž™αŸ„αž„β€‹αž›αžΎαž€αžΆαžšβ€‹β€‹αž’αž“αž»αžœαžαŸ’αžβ€‹αž˜αŸ‰αŸ’αž™αžΆαž„β€‹αž“αŸ…αž€αŸ’αž“αž»αž„β€‹αž”αŸ’αžšαž‘αŸαžŸβ€‹αž€αž˜αŸ’αž–αž»αž‡αžΆβ€‹ αž“αž·αž„β€‹αž’αžΆαžŸαŸŠαžΈβ€‹αž’αžΆαž‚αŸ’αž“αŸαž™αŸ αžŠαŸ‚αž›β€‹αž–αŸ’αžšαŸ‡β€‹αžŸαž„αŸ’αžƒβ€‹αž¬β€‹αž–αž»αž‘αŸ’αž’β€‹αž”αžšαž·αžŸαŸαž‘β€‹β€‹αž™αž€β€‹αžŸαŸ’αž”αž„αŸ‹β€‹αž–αŸ’αžšαŸ‡αžŸαž„αŸ’αžƒβ€‹β€‹αž˜αž€β€‹αžšαž»αŸ†β€‹αž–αŸαž‘αŸ’αž’αž‡αž»αŸ†αžœαž·αž‰β€‹αžŠαžΎαž˜αžˆαžΎβ€‹β€‹β€‹αžŠαžΎαž˜αŸ’αž”αžΈβ€‹β€‹β€‹αžαŸ‚αžšαž€αŸ’αžŸαžΆβ€‹αž€αžΆαžšαž–αžΆαžšβ€‹αŸ” β€‹αž…αŸ†αžŽαŸ‚αž€β€‹αž“αŸ…αž‘αžΈαž“αŸαŸ‡ αž‘αž˜αŸ’αžšαž„αŸ‹β€‹αž€αŸ’αžšαžŠαžΆαžŸβ€‹αž–αžŽαŸŒαž‘αžΉαž€αž€αŸ’αžšαžΌαž…β€‹-αž˜αžΆαžŸβ€‹αžšαžΆαž”αŸ‹β€‹αž–αžΆαž“αŸ‹β€‹αžŸαž“αŸ’αž›αžΉαž€β€‹ β€‹αžŠαŸ‚αž›β€‹αž˜αžΆαž“αžšαŸ†αž›αŸαž…β€‹β€‹αžšαžΌαž”β€‹αž•αŸ’αž€αžΆ Kodjeningara αž“αŸ…β€‹β€‹αž—αžΆαž‚β€‹αž“αž·αžšαžαžΈβ€‹αž“αŸƒβ€‹αžšαžŠαŸ’αž‹ Western Australia αž€αŸ†αž–αž»αž„β€‹αž”αž€αŸ‹αž™αŸ‰αžΆαž„β€‹αžšαžœαž·αž…αŸ—β€‹αž–αŸαž‰β€‹αž‡αž‰αŸ’αž‡αžΆαŸ†αž„β€‹αž•αŸ’αž›αžΌαžœβ€‹αžšαžΌαž„ αž αžΆαž€αŸ‹β€‹αžŠαžΌαž…αž‡αžΆβ€‹αžšαž›αž€β€‹αž–αž“αŸ’αž›αžΊβ€‹αž–αŸ’αžšαžΆαž€αŸ—β€‹αžšαžŸαžΆαžαŸ‹β€‹αž“αŸ…β€‹αž€αŸ’αž“αž»αž„β€‹αžαŸ’αž™αž›αŸ‹αŸ”

αžŸαŸ†αž‘αŸαž„αžšαžŸαžΆαžαŸ‹αž…αžΌαž›αž€αŸ’αž“αž»αž„β€‹αž•αŸ’αž›αžΌαžœβ€‹αžšαžΌαž„β€‹αžαžΆαž˜αžαŸ’αž™αž›αŸ‹αŸ” αžαžΆαžŸβ€‹αž§αž”αž€αžšαžŽαŸβ€‹αž”αŸ†αž–αž„β€‹αžŸαŸ†αž‘αŸαž„β€‹αžœαž·αž›αžšαŸαžšαžΆαŸ† αž”αž“αŸ’αž›αžΊαžŸαŸ†αž‘αŸαž„β€‹αž†αŸ’αž›αžΎαž™β€‹αžαž”β€‹αž‘αŸ…αž“αžΉαž„β€‹β€‹αž›αŸ’αž”αžΏαž“β€‹αž“αž·αž„β€‹αž‘αž·αžŸβ€‹β€‹αžαŸ’αž™αž›αŸ‹β€‹αžŠαŸ‚αž›β€‹β€‹αž€αŸ†αž–αž»αž„β€‹β€‹αž•αŸ’αž›αžΆαžŸαŸ‹αž”αŸ’αžαžΌαžšβ€‹ αž“αž·αž„β€‹αž”αŸ’αžšαŸ‚β€‹αž€αŸ’αž›αžΆαž™β€‹αž•αŸ’αž›αžΌαžœαžšαžΌαž„β€‹αž“αŸαŸ‡β€‹αž‘αŸ…αž‡αžΆβ€‹αž€αž“αŸ’αž›αŸ‚αž„β€‹αž˜αž½αž™β€‹αžŠαŸ‚αž›β€‹αžŸαŸ†αž‘αŸαž„β€‹αž˜αžΆαž“β€‹αž‡αžΈαžœαž·αžαŸ” β€‹αžαŸ’αž™αž›αŸ‹β€‹αž›αŸαž„β€‹αž‡αžΆαž˜αž½αž™β€‹αž•αŸ’αž›αžΌαžœαžšαžΌαž„β€‹αžŠαžΌαž…αž‡αžΆβ€‹αž§αž”αž€αžšαžŽαŸβ€‹αžαž“αŸ’αžšαŸ’αžαžΈ αž αžΎαž™β€‹αžœαžΆβ€‹αž”αŸ’αžšαŸ‚β€‹αž”αŸ’αžšαž½αž›β€‹αž₯αžβ€‹αžŠαžΆαž…αŸ‹β€‹ αž–αžΈβ€‹αž˜αž½αž™β€‹αž“αžΆαž‘αžΈβ€‹αž‘αŸ…β€‹αž˜αž½αž™β€‹αž“αžΆαž‘αžΈ αž–αžΈβ€‹αž˜αž½αž™β€‹αž˜αŸ‰αŸ„αž„β€‹αž‘αŸ…β€‹αž˜αž½αž™β€‹αž˜αŸ‰αŸ„αž„αŸ”β€‹

αž•αŸ’αž›αžΌαžœαžšαžΌαž„β€‹ Whalers Tunnel αž“αŸαŸ‡β€‹ αž‚αžΊβ€‹αž‡αžΆαž‘αžΈαžαžΆαŸ†αž„αž”αŸ’αžšαžœαžαŸ’αžαž·αžŸαžΆαžŸαŸ’αžαŸ’αžšβ€‹αžŠαŸβ€‹β€‹αžŸαŸ†αžαžΆαž“αŸ‹β€‹αž“αž·αž„β€‹αž˜αžΆαž“β€‹αž‘αž˜αŸ’αž„αž“αŸ‹αž˜αž½αž™αŸ– αž—αŸ’αž“αŸ†β€‹αžαŸ’αž˜β€‹αžŠαŸ‚αž›β€‹αžαŸ’αžšαžΌαžœβ€‹αž‚αŸβ€‹αž…αŸ„αŸ‡β€‹αž‡αžΆβ€‹αž•αŸ’αž›αžΌαžœ αž‡αž‰αŸ’αž‡αžΆαŸ†αž„β€‹αž–αž“αŸ’αž’αž“αžΆαž‚αžΆαžš αž“αž·αž„αž€αŸ†αž–αž„αŸ‹αž•αŸ‚β€‹αž“αŸαžŸαžΆαž‘β€‹αžαŸ’αžšαžΈβ€‹αž”αžΆαž‘αŸ‚αž“αŸ” β€‹αžŸαŸ’αž“αžΆαžŠαŸƒ Β«αžŠαŸ†αžŽαž€β€‹αžŠαž„αŸ’αž αžΎαž˜Β» αž˜αž·αž“β€‹αž”αžŠαž·αžŸαŸαž’β€‹αž’αŸ†αž–αžΈβ€‹αž‘αž˜αŸ’αž„αž“αŸ‹β€‹αž”αŸ’αžšαžœαžαŸ’αžαž·αžŸαžΆαžŸαŸ’αžšαŸ’αžβ€‹αž‘αžΆαŸ†αž„αž“αŸαŸ‡β€‹αž‘αŸβ€‹ αžαŸ‚β€‹αž•αŸ’αž’αŸ‚αž€β€‹αž›αžΎαžœαžΆβ€‹αž‡αžΆαž˜αž½αž™β€‹αž“αžΉαž„β€‹αž€αžΆαž™αžœαž·αž€αžΆαžšβ€‹αž“αŸƒαž—αžΆαž–β€‹αž‘αž“αŸ‹αž—αŸ’αž›αž“αŸ‹β€‹ αž“αž·αž„β€‹αž€αžΆαžšβ€‹αž™αž€β€‹αž…αž·αžαŸ’αžβ€‹αž‘αž»αž€αžŠαžΆαž€αŸ‹αŸ” β€‹αžŸαŸ’αž“αžΆαžŠαŸƒβ€‹αž“αŸαŸ‡ αž’αž‰αŸ’αž‡αžΎαž‰β€‹αž’αŸ’αž“αž€β€‹αž±αŸ’αž™β€‹αžŠαžΎαžšβ€‹αž†αŸ’αž›αž„αž€αžΆαžαŸ‹ αžˆαž”αŸ‹β€‹ αž’αž„αŸ’αž‚αž»αž™ β€‹αž“αž·αž„β€‹αžŸαž˜αŸ’αžšαžΆαž€β€‹αŸ” β€‹αžŠαžΎαž˜αŸ’αž”αžΈβ€‹αž‘αž‘αž½αž›β€‹β€‹αž”αžΆαž“β€‹β€‹αž’αžΆαžšαž˜αŸ’αž˜αžŽαŸβ€‹β€‹αžαŸ’αž˜αžΈβ€‹αžαž»αžŸβ€‹αž–αžΈβ€‹αž˜αž»αž“β€‹αž’αŸ†αž–αžΈβ€‹αž•αŸ’αž›αžΌαžœβ€‹αžšαžΌαž„β€‹αž“αŸαŸ‡αŸ”

αž›αŸ„αž€αžŸαŸ’αžšαžΈ ​Maddie β€‹αž“αž·αž„ αž›αŸ„αž€ Tim​ αž”αž„αŸ’αž€αžΎαžβ€‹αž”αžšαž·αž™αžΆαž€αžΆαžŸβ€‹αžŸαžΌαžšαžŸαŸαž–αŸ’αž‘β€‹αžŠαŸ‚αž›β€‹β€‹β€‹αž•αŸ’αž›αžΆαžŸαŸ‹β€‹αž”αŸ’αžαžΌαžšβ€‹αžšαž”αŸ€αž”β€‹αžŠαŸ‚αž›β€‹αž™αžΎαž„β€‹αžŸαŸ’αžαžΆαž”αŸ‹αŸ” αž…αŸ†αžŽαŸ‚αž€β€‹αž›αŸ„αž€ αž›αžΈαžŽαžΌ β€‹αž“αž·αž„ αž›αŸ„αž€ αž”αž‰αŸ’αž‰αžΆ β€‹αž“αžΆαŸ†β€‹αž˜αž€β€‹αž“αžΌαžœβ€‹αž€αžΆαžšαž„αžΆαžšβ€‹αž•αŸ’αžαŸ„αžβ€‹αž›αžΎβ€‹αžŸαž αž‚αž˜αž“αŸβ€‹αž–αžΈβ€‹αž€αž˜αŸ’αž–αž»αž‡αžΆ αžŠαŸ‚αž›β€‹αž”αž„αŸ’αž€αžΎαžβ€‹αž‘αžΎαž„β€‹αžŠαŸ„αž™β€‹αž€αžΆαžšβ€‹αž…αž„αž…αžΆαŸ† β€‹αž–αž·αž’αžΈ β€‹αž“αž·αž„β€‹αž€αžΆαžšβ€‹αž•αŸ’αž›αžΆαžŸαŸ‹αž”αŸ’αžαžΌαžšβ€‹αžŸαž„αŸ’αž‚αž˜αŸ” αž–αž½αž€αž‚αŸβ€‹αžšαž½αž˜αž‚αŸ’αž“αžΆβ€‹αž•αŸ’αž’αŸ‚αž€β€‹αž›αžΎβ€‹αžαŸ’αž™αž›αŸ‹ αž‡αžΆβ€‹αž’αž„αŸ’αž‚β€‹αž“αŸƒβ€‹αž”αž˜αŸ’αž›αžΆαžŸαŸ‹β€‹αž”αŸ’αžšαŸ‚β€‹αž‡αžΆαž€αŸ‹β€‹αžŸαŸ’αžαŸ‚αž„ αž“αž·αž„β€‹αžαžΆαž„β€‹αž–αŸ’αžšαž›αžΉαž„αŸ”

αž’αŸ’αž“αž€αžŸαž˜αŸ’αžšαž”αžŸαž˜αŸ’αžšαž½αž›αžŸαž·αž›αŸ’αž”αŸˆαž‘αžŸαŸ’αžŸαž“αŸ αž“αž·αž„αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαžŸαžΆαž’αžΆαžšαžŽαŸˆαŸ– αž”αŸ‰αžΆαž›αŸ‹ αž”αž‰αŸ’αž‰αžΆ
αž‡αŸ†αž“αž½αž™αž€αžΆαžšαžŸαž·αž›αŸ’αž”αŸˆαž‘αžŸαŸ’αžŸαž“αŸαŸ– αž›αžΆαž„ αž‘αž·αžαŸ’αž™αž“αžΈαžαžΆ, αž•αžΆαž“αŸ‹ αžŸαž»αž—αŸαžŽ
αžαž“αŸ’αžαŸ’αžšαžΈαž€αžšαŸ– Winter McQuinn, Helen Svoboda
αžœαž·αžŸαŸ’αžœαž€αžšαžαžαžŸαŸ†αž‘αŸαž„αŸ– Pat Telfer, Sydney Rd Studio
αžšαž…αž“αžΆαž§αž”αž€αžšαžŽαŸαž”αŸ†αž–αž„αžŸαŸ†αž‘αŸαž„αŸ– Robert Larsen
αžšαž…αž“αžΆαž”αŸ’αžšαž–αŸαž“αŸ’αž’αžŸαŸ†αž‘αŸαž„αŸ– 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 – 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 WA’s 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 doesn’t 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

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