DÉJÀ-VU No.9: NAN GOLDIN SPECIAL ("PRIVATE LIFE")
- Regular price
- $ 3,100.00 MXN
- Regular price
-
- Sale price
- $ 3,100.00 MXN
Featured photographers: Nan Goldin, Shinzo Shimao, Tokihiro Sato, Nobuyoshi Araki
Publisher: Photo-planète, Tokyo
Year: 1992 — No. 9, July 10
Format: Softcover with photographically illustrated wrappers
Pages: 176
Dimensions: Approx. 29.8 × 22.8 cm
Language: Japanese / English
Condition: Brand New
Status: Out of Print
Déjà-vu No. 9: Private Life is a landmark issue of the seminal Japanese photography quarterly Déjà-vu, published by Photo-planète in Tokyo in July 1992. Emerging in the early 1990s as an important platform for contemporary photography, the magazine moved beyond the technical and commercial conventions of Japanese photography publishing, creating a sustained dialogue between Japanese photographers and their international counterparts through extended photographic features accompanied by essays in Japanese and English.
This issue is particularly significant for its extensive presentation of Nan Goldin, who appears on the cover and across 22 pages. During Goldin’s travels through Asia in 1992, the editors of Déjà-vu arranged her meeting with Nobuyoshi Araki—an encounter that would become an important moment in the cross-cultural exchange between two photographers whose practices were deeply rooted in intimacy, desire, autobiography, and the private sphere.
Alongside Goldin, the issue features substantial portfolios by Shinzo Shimao and Nobuyoshi Araki, with Tokihiro Sato also represented. Araki occupies 23 pages, while Shimao is presented across 22 pages, creating an unusually concentrated survey of contemporary photographic practices from Japan and abroad.
With its combination of photography, critical writing, and bilingual editorial material, Déjà-vu No. 9 captures a particular moment in the history of Japanese photography publishing—when Tokyo became an increasingly important meeting point between emerging international photographic practices and Japan's own radical photographic tradition.
A highly desirable issue for collectors of Nan Goldin, Nobuyoshi Araki, Japanese photography magazines, and early-1990s photographic publishing. This copy is preserved in Brand New condition.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
If you still have any questions, feel free to contact us.
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