“New Needlepoint” is a project that presents some iconic paintings by the most prominent artists of the 20th century as needlepoint designs.
By choosing abstract artists, Marko Stojanovic tries to avoid figuration and hence introduce new standards in choosing motifs for needlepoint designs. He opts for the art of pure minimalist poetics, constructivism, suprematism, that is works of art with simple form and colour, even achromatic black-and-white paintings.
In the previous decades and even nowadays, increasingly so in flee markets or ads (category – miscellaneous) we come across the once prestigious “Wiehler gobelins”. We recall needlepoints with motifs of baroque, vivid rococo, romanticism or most often in our region The Last Supper by Leonardo Da Vinci or the Kosovo Maiden by Uros Predic. Isn’t the 21st century truly the right time for a new concept to be offered in this field as well? Time for a new brand in ‘needlepoint art’?! If Wiehler lost the race with time, we should ask ourselves why. Where did the big brand of the needlepoint industry fail? What was not well estimated?
Marko Stojanovic estimates that the problem is in the selection of motifs and works of art adapted to needlepoint designs. The problem is that there are too many motifs which aren’t kitsch themselves but they are burdened with a difficult time that’s passed. Among other things, we remember that time by socrealistic interiors with unavoidable needlepoint as wall décor.

“New Needlepoint” is something new. As the author of the project would put it himself, it’s “a luxurious reproduction or an even more luxurious original” or “a work of art you personally participate in creating”. However, this is not a novelty, needlepoint was already all of this. What’s important about the “New Needlepoint” is that, by accepting the new-launched brand, you become ‘hypermodern’, for your needlepoint is a reproduction of a ‘modern’ artist. Modern art as needlepoint! “New patterns for new housewives!”
Certainly, it is advisable nowadays to view an idea like this keeping all the consequences in mind and be aware about the often-crucial impact of compromises. Firstly, the idea should be viewed in relation to the time in which it is born and in which it exists, secondly in relation to the society it belongs to, and lastly in relation to the system it is conditioned by.
The concept of the “New Needlepoint” project is a well-thought-out and faithful projection of a contemporary time. Despite it all appearing only as good witticism at first glance, social provocation is clearly visible. Fully aware and with a certain active approach in realizing his idea, the author shows and expresses meanings, values and beliefs of the civil and consumer society.
The emphasis is on the importance of aesthetics of the very needlepoint pattern i.e. the entire product. The accent on aesthetics in technical precision is evident. Each piece, with the slogan “Make art yourself”, indicates that the author wants everything to be perfectly packed and attractive to the modern consumer, by aesthetic standards of good modern design and thus become desirable goods.

The “New Needlepoint” project also deals with visual art and conceptual problems. It has a good base and the potential to start and express a clear critical attitude within the entire system of modern art production, as well as in the relationship between art and social environment. With this project, the author sarcastically suggests components of new collectivism, offering utilitarian art for a wide target audience, for the modern mass consumer society.
The concept of the “New Needlepoint” can be said to have all the characteristics of what is called ‘socially aware’ art.
Sladjana Varagic

With his exhibition ‘New Needlepoint’ Stojanovic on one side poses the problem of the modern art reception in our society, especially in its layman middle classes with the needlepoint optics. On the other side, this very well conceptualized and actualized project raises the issue of value of a reproduction (which these needlepoint works are as well, in a way). Stojanovic also cleverly plays with the fact that modern art has already become a thing of the past, therefore being ready to find its place on the needlepoint patterns, together with the more common subjects of baroque and romanticism.
Marko Stojanovic has shown a high level of artistic awareness through his series of independent exhibitions, at the same time questioning its functioning in the society in original ways. In doing so, he knowledgeably uses modern, digital means of expression which give force and persuasiveness to his work.
Andrej Tisma