The show took place in 2000 at Contemporary Fine Arts in Berlin. From what I understand, this was the last invitation card using handwritten text. See all cards here.
“Rhythm 4 was performed at the Galleria Diagramma in Milan. In this piece, Abramović kneeled alone and naked in a room with a high-power industrial fan. She approached the fan slowly, attempting to breathe in as much air as possible to push the limits of her lungs. Soon after she lost consciousness.
Abramović’s previous experience in Rhythm 5, when the audience interfered in the performance, led to her devising specific plans so that her loss of consciousness would not interrupt the performance before it was complete. Before the beginning of her performance, Abramović asked the cameraman to focus only on her face, disregarding the fan. This was so the audience would be oblivious to her unconscious state, and therefore unlikely to interfere. Ironically, after several minutes of Abramović’s unconsciousness, the cameraman refused to continue and sent for help. Wikipedia
1st January 2016
A nice way
Invitation cards by the Zurich project space Corner College.
“Corner College was founded in 2008 at Perla-Mode Zürich. In 2011 the space moved to Kochstrasse and was run by Irene Grillo, Sarah Infanger, Urs Lehni, Jeannette Polin, Philip Matesic und Stefan Wagner until 2014. 2015 marks a new period of activities following Corner College’s legacy as a space for activities between art and quasi-academic educational approaches with an openness for Zurich’s artistic, activist, and intellectual communities.
Until September 2018, Corner College was located in Zurich’s District 4, and since then has functioned as a nomadic space without a location of its own. It is an independent project space for new and experimental formats of exhibition making, with a focus on research and process oriented contemporary art, quasi-academic knowledge production and the nurturing of discursive forms of contemporary art and theory in a dialog with urban processes, society, technologies, research, transdisciplinarity. CC activates a space of micropractices and participation of the public that echo in a network of local and global exchange.” Source
Invitation card for an exhibition by Mary Redmond at the Modern Institute in Glasgow. Somebody said that it reminded her or him of John Travolta.
User comment: “I have chosen an invitation for the exhibition of Koo-Jeong-A (2009)’s work. I found the format and the colours and the blurred shapes intriguing. I had to unfold the document and the surprise and the curiosity remained high (what’s this?). I immediately thought about FRAMING it. I did not know the artist nor the gallery. I find sometimes the invitation for famous artists (eg. Charles Ray, Andreas Gursky, Thomas Ruff, Isa Genzken, Wolfgang Tillmans etc.) whom I also adore eye-catching, but rather because they produce a feeling of familiarity, like a recognisable friend on meets in the street. But there is less surprise, rather a soft happiness/joy?” Carole Ratsimandresy
Back in the days, the Centre genevois de gravure contemporaine (what a great name for an institution!) was located in this villa in Geneva. It was romantic, strange, and run by curator Véronique Bacchetta who organized many great shows. She also published memorable editions by artists such as Trisha Donnelly, Heimo Zobernig, Monica Bonvincini, Mai-Thu Perret, Marc Camille Chaimowicz, John Armleder… The Centre genevois de gravure contemporaine is now called Centre d’édition contemporaine and moved into a more anonymous space in the city of Geneva. The program is still great.
Absolut Vodka by Rosemarie Trockel
Stamped invitation cards by RaebervonStenglin, a gallery for contemporary art in Zurich, active from 2009-2016.