The Vine, Wine and Wine Label Museum is a must-see for all wine tourism trips. On the exceptional site of the Château d'Aigle, its exhibitions will delight wine lovers, as well as families who can discover this culture while having fun.

Founded by the Confrérie du Guillon to save the endangered winegrowing heritage of the canton of Vaud, the museum brings together numerous tools, presses, stills, pitchers, barrels, measures, bottles, corks, corkscrews, tastevin, glasses and carafes.

The museum positions itself as a reference for vine and wine cultivation. It deals with the themes of landscape, biodiversity, taste education, ecology, economy and art, including the art of celebration, winegrowers and harvesting.

The Château d'Aigle is at the heart of vineyards and a thousand-year-old wine-growing tradition in which the chasselas, which produces a dry white wine, occupies a central place. This grape variety is cultivated in the Rhône Valley and the Lake Geneva region (canton of Vaud), particularly in the terraced vineyards of Lavaux, a UNESCO World Heritage Site.

MATIÈRES PREMIÈRES is part of the Espace Graffenried exhibition À VOIR ET À MANGER - REGARDS D'ARTISTES SUR LE TERROIR SUISSE and, more broadly, part of the “Aigle Swiss City of Taste 2025” event. The exhibition will be on display at the Château d'Aigle for one year.

Artist Leah Linh takes over three floors of the Château d'Aigle tower for a sensory and conceptual journey through the local terroir.

Through a series of installations—In Vino Captus, Le Supermarché, and Le Fumoir—she questions our food rituals, our agricultural heritage, and the way culture, the body, and memory intertwine in the objects we consume.

Rather than celebrating the terroir in a folkloric way, the artist reveals its tensions, contradictions, and invisible narratives. She subverts the familiarity of products such as pickles, ham, and wine to better explore their symbolic, poetic, and political significance. In a spirit inherited from Pop Art, but tinged with a resolutely 21st-century perspective, she transposes these “raw materials” into various artistic devices that destabilize, amaze, and disturb all at once.

With this tripartite installation, Leah Linh gives substance to terroir and subjects it to an interpretation that is as lucid as it is artistically embodied.