Born in Heraklion, Crete in 1979, he took his first painting lessons by his father, Takis Moschos. From 1997 to 2003, he studied at the Athens School of Fine Arts, painting under Chronis Botsoglou and photography under Manolis Baboussis. In 2007 he made reproductions of El Greco’s paintings featured in the El Greco movie directed by Yannis Smaragdis. In 2008, seven of his works were included in Natassa Bofiliou's CD Until the end, published by Mikri Arktos. One of his paintings graced the cover of Nikos Adam Voudouris' short story collection The seabed is nearby published by Patakis publications in the same year. On February 2009, a painting of his was printed on the front page of Athens Voice weekly paper. In 2011 he created the cover of George Tsourvakas’ scientific book Management of Media and Cultural Organisations. At the same year, he illustrated three images for Medea, a short film by Clio Fanouraki. His work has been acquired by the Benaki Museum, the Frissiras Museum, the Viannou Art Gallery, Heraklion Museum of Visual Arts and various private collections in Greece and abroad. Lives and works in Athens.
- 2013 Penindaplinena Gallery, Art Athina, Athens
- 2012 Xippas Gallery, Athens
- 2010 Galerie Theorema, Brussels, Belgium
- 2007 Ekfrasi-Yianna Grammatopoulou Gallery, Athens, Greece
- 2013 Incidents IV, Contemporary Greek Painting from the Antony and Azia Hadjioannou Collection, Cyclades Gallery, Syros, Greece (curated by Iris Kritikou)
- 2012 From the heart of our city, Kaplanon 5 Gallery, Athens (curated by Nikos Vatopoulos)
- 2012 Between Reality and Fantasy. Works from the Sotiris Felios Collection, Giorgio De Chirico Art Center, Volos (curated by Irene Orati)
- 2011 Painting Stories, 50-1 Gallery, Lemessos, Cyprus
- 2011 Art-Athina, Ekfrasi-Yianna Grammatopoulou Gallery, Athens, Greece
- 2011 Bodies & Lanscapes, Contemporary Greek Painting from the Hadjioannou Collection, Greek Cultural Foundation, Berlin, Germany (curated by Iris Kritikou)
- 2010 Humanlimits,Cultural Centre “Melina”, Municipality of Athens, Athens, Greece (curated by Iris Kritikou)
- 2010 Deconstructing the canvas, inventing the image: works from the Antonis and Azia Hadjioannou Collection, Toumpa Cultural Centre, Thessaloniki (Dimitria 2010), Greece (curated by Iris Kritikou)
- 2010 Modern Art, views of the Cretan art scene: artworksfromtheSchizakis Collection, Municipal Art Gallery of Corfu, Greece (curated by Denise-Chloe Alevizou)
- 2010 TracingIstanbul, Sismanoglio Megaro, Istanbul & “Technopolis”, Athens, Greece (curated by Iris Kritikou)
- 2010 Parcours d’artistes 2010, with Galerie Theorema, St. Gilles,Belgium
- 2010 Erysichthon: contemporary reading of the myth, “Kanellopoulos” Cultural Centre, Elefsina, Greece (curated by Louisa Karapidaki)
- 2010 AboutHeroesand…, Kalamata Municipal Art Gallery “Α. Tassos”, Kalamata, Greece (curated by Iris Kritikou)
- 2010 Joannes Gennadiusand his world, Gennadius Library, Athens, Greece ( curated by Iris Kritikou)
- 2009 It happened in Athens, Cultural Centre of Athens, Athens, Greece (curated by Iris Kritikou)
- 2009 Landscape Stories, Heraklion, Athens, Greece and Rome, Italy (curated by Louisa Karapidaki)
- 2008 Experiencing Greece, Travels to enchanted landscape, Hellenic House, organised by the Greek Ministry of Tourism, Beijing, China (curated by Iris Kritikou)
- 2008Always open, always watchful the eyes of my soul…- Sketching Dionysios Solomos, Moschandreou Gallery – “Mikri Arktos”, Messolongi, Greece & Venice, Italy (curated by Iris Kritikou)
- 2007 Visual Arts in Greece, State Museum of Contemporary Art, Thessaloniki, Greece (curated by Haris Kambouridis)
- 2007 Birth Place, Benaki Museum, Athens, Greece (curated by Iris Kritikou)
- 2007 Realia Mundi, Kydoniefs Foundation, Andros, Greece (curated by Athina Schina)
- 2007 SchizakisCollection, Heraklion Museum of Visual Arts, Heraklion, Crete, Greece (curated by Denise-Chloe Alevizou)
- 2007 Aspects of form – Markings of landscape, Antonis and Azia Hatzioannou collection, Municipal Art Gallery of Chania, Crete, Greece (curated by Iris Kritikou)
- 2006 Once upon a time there was Penelope Delta..., Athens College, Athens, Greece (curated by Iris Kritikou)
- 2005 Art Athina, with Ekfrasi-Yianna Grammatopoulou Gallery, Athens, Greece
- 2004 Near Likeness, versions of a portrait of Antonis Benakis, Benaki Museum, Athens, Greece (curated by Thanassis Moutsopoulos)
- 2004 Art goes to school, Ekfrasi-Yianna Grammatopoulou Gallery, Athens, Greece
- 2004 Vianou Art Gallery, Heraklion, Crete, Greece
- 2004 Book of Prayers, Ekfrasi-Yianna Grammatopoulou Gallery, Athens, Greece (curated by Iris Kritikou)
- 2004 New Generation, Ekfrasi-Yianna Grammatopoulou Gallery, Athens, Greece
- 2003 Ariadne Gallery, Heraklion, Crete, Greece
The Marriage of Flesh and Machine in the paintings of Nikos Moschos
"He who makes a beast of himself gets rid of the pain of being a man."
Dr Johnson(on the frontispiece of Hunter S. Thompson΄s, "Fear and Loathing in Las Vegas")
Nikos Moschos makes a convincing argument on the issue of what does one paint today. In an age where the medium has only one single choice: to reinvent itsself ab initio (or at least beyond a certain point) in order to stand convincingly before the fairground of media, pop music and movies. In other words, to stand on its own two feet, to exist in an independend state, away from the mothball environment of museums and the (unbearable) weight of the past and of history (which weigh down far less on the media, pop music and films). Of course, nowadays, painting should be finding itself in a privileged position that contrasts with the commercial breakdown of other visual media-video, installations or photography - as well as the broad-ranging crisis they are facing (conceptual art is, yet again in its history, in danger of becoming an object of ridicule and caricature, due to its eccentricities).
In Nikos Moschos' painting, human flesh, machinery, cars, brass musical instruments and ruins of newly-built buildings are compressed. The distortion of architectural space and visual breadth, which he has expressed over the passed view years, attains a marginal deconstruction of forms and symbols in this exhibition. This vast slaughterhouse, where colours, shapes and information are quashed, could give rise ti individual discussions for every one of the basic themes in Moschos' painting. For example, how the human flesh depicted contrive to wink an eye to the entire history of the medium, from Michelangelo to Liberatore's post-industrial comics? Of course, what is most likely, is that Moschos is in discourse with painting alone, in and of itself, wherein, unequivocally, lie his roots. However, the unconventional methods he follows, lead him down unexpected pathways, where, perhaps, even he himself had not dreamed to go.
Perhaps because a painter's eye has to look everywhere (at televisions, print, the metropolis surrounding him) and not only at books or art museums. Moschos the painter bases his work in a centuries-old tradition of distortion and disproportion of human parts, ranging from wood carvingsin Africa and Oceania, to the formulation of a european tradition in caricature that arrows in the 18th century and, thereafter, the adoption of similar practices by the modernists in the 20th century- Picasso first and foremost opposed classicist insistence on specific body proportions. At the same time, by deconstructing the human body in series of painted works, geometrical and architectural space is distorted in its boundaries: the visuals resemple those of a fish-eye or wide-angle lens. The geometrical distortion of perspective contorts doors and rooms and transforms them into loci of the absurd. Architectural space, wherever it doesn't break down altogether, is undercut.
Does perspective constitute a medium to express the essence of things to the degree that its supporters claim, I wonder? And consequently, should it be considered a conditio sine qua non for artistic creativity? Or, conversely, does it constitute yet another form of represantation, which does not summarise the overall interpretation of the world but one single contingency thereof, which concerns a specific insight and way of life? Or does, perhaps, perspective rendition of the world constitute its honest portrayal, the real tidings of the world? But even in such an instance, the experience of modernism in painting during the 20th century responded to this question. Or perhaps the polar opposite of this opinion is that perspective equals a distinct system of transcription, an alternative premise, which highlights the position, the time frameworkand the world view of those who conceived it, while still allowing the existence of father corresponding systems? Systems which perchance have perceived in greater depth the true shape of things; to a degree, in fact, where, diverging from the principles of perspective, they draw ever nearer to the essence, without in the slightest altering the truth they represent.
Or that the deconstruction that Moschos reserves for the architectural shapes presents a paradoxical proximity to traditional Byzantine usage of the same thing. Thi is why it is most likely not in the least random, as the artist use to observe his father, a painter, when painting wall frescos for churches. The painter's most recent works appear post-apocalyptic. Everything has been torn down and scrunched up, one on top of the other. A contemporary world stricken and liquefied in the artist's blender and squashed thin by a deathly press. We can't know whether the artist is referring to the current condition or the global crisis, however, and this is a future of important art, we can rejoice in viewing it as a mirror of our contemporary lifes, even if what we see appears to be anything but apetizing or hope-nurturing.
Moschos could almost be a addressing the massive wall paintings of the mexican muralistas, David Alfaro Siqueiros and Jose Clemente Orozco (altough he appears not to be and this to be a figment of my imagination), where a distorted image of a world collapsing and a new world being born (republican Mexico) dissolves within it old tyrants and risind heroes. Perhaps, however, Moschos isn't interested in them. Or even in the edgy literature of J.G. Ballard and Hunter S. Thompson. But I too may be right; as the hallucinatory savagery in Hunter S. Thompson's "Fear and Loathing in Las Vegas", or the lust for joining flesh and machine through daedly car accidents in J.G. Ballards "Crash", aren't far distant from correspondingly axtreme situations in the work of Nikos Moschos. But I also think of it, when I see once again the californian paintings presented, usually, by the magazine " Juxtapoz". It's strange...
I believe that these paintings by Moschos can bear comparison in any framework, which contemporaly debate in our society can set. It contains the major features of the human condition, as this has taken shape over the past few years: breathing life into a tired and replete artistic medium ( with a history, however, which distinguishes it from almost any other) and does this in a manner that appears as fresh as it does historically concrete. Perhaps we should be glad of these historical happenstance, as never before has there appeared to be a more ideal atmosphere to evaluate such work. It appers to be time to be the new aera somewhere from this very point. Let us abandone ourselves to the feverish climes of Nikos Moschos; painting and allow it to take us where it wills...