One imagines David Diao’s not-quite retrospective at Postmasters, the gallery’s last in its Chelsea space, being accompanied by a catalogue essay titled ‘Painting: The Task of Melancholy’. Academic types, of which Diao is one, will recognise that title as a play on art historian Yve-Alain Bois’s now canonic 1986 essay, where ‘mourning’ stands in place of ‘melancholy’ and in which painting’s ‘death’ as a coherent medium has been assumed. Those same types will go racking their heads for Freud’s distinction…
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