LONDON: Recognizing the state of Palestine is a “strategic necessity” that would mark the beginning of peace in the Middle East, Saudi Arabia told a UN meeting on Friday.

The comments came as the Kingdom and France prepare to co-chair a global conference next month designed to hasten the implementation of a two-state solution to end decades of conflict between Israel and Palestinians.

The effort has gained further support this week as the devastating toll of Israel’s resumed assault on Gaza sparked international anger.

Speaking at a UN General Assembly meeting in preparation for the conference, co-chair Manal Radwan, counsellor at Saudi Arabia’s Foreign Ministry, said that a just solution to the Palestinian question was not only a moral and legal imperative, but “the cornerstone of a new regional order based on mutual recognition and coexistence.”

“Regional peace begins with recognizing the state of Palestine, not as a symbolic gesture, but as a strategic necessity,” she said.

“It is the only way to eliminate the space exploited by non-state actors and replace despair with a political horizon, grounded in rights and sovereignty, ensuring security and dignity for all.”

The high-level conference is scheduled to begin on June 17 at the UN headquarters in New York and aims to urgently adopt concrete measures toward the implementation of the two-state solution.

France’s Foreign Minister Jean-Noel Barrot said this week that the conference was meant to rally the world to recognize a Palestinian state.

Palestine is officially recognized by 147 of the UN’s 193 member states and has observer status at the UN but is not a full member. 

More than 53,000 Palestinians have been killed since Israel unleashed its military operation in Gaza after the October 2023 Hamas-led attack killed 1,200 people.

As the death toll and suffering in Gaza has increased, more nations have moved to recognize Palestine, including Ireland, Norway and Spain last year.

President Emmanuel Macron has said that France would probably recognize Palestine at the June conference and the UK is in discussions about a similar step.

This week, France, Britain and Canada called on Israel to halt its military offensive on Gaza and a remove its restrictions on humanitarian aid.

Israel has recently launched an expanded operation in Gaza, aiming to seize full control of the territory and cut off all aid for several months.

Radwan said that the meeting on Palestine’s future came at a moment of “historic urgency” with Gaza “enduring unimaginable suffering” and civilians continuing to pay the price of a war “that must end immediately.”

“Despair grows deeper by the day, and yet, this is precisely why we must speak not only of ending the war, but of ending a conflict that has lasted for nearly eight decades,” she said.

She said that Saudi Arabia was honored to stand with other nations committed to the diplomatic effort to bring “real, irreversible and transformative change, to ensure, once and for all, the peaceful settlement of the question of Palestine.”

“The only way to prevent the reoccurrence of violence, terrorism and atrocities is to implement the two-state solution, including through the support of a robust multilateral framework,” she added.

French presidential adviser for the Middle East and North Africa, Anne-Claire Legendre, said that a political solution to the conflict was a matter of urgency.

“The June conference must mark a transformative milestone for the effective implementation of the two-state solution,” she said.

“We must move from the end of the war in Gaza to an end of the conflict. Faced with the facts on the ground, the prospects of a Palestinian state must be maintained.”

JEDDAH: Art Jameel launched the “Gulf Art Movements” exhibition on Thursday to trace the evolution of modern creatives in the Arabian Gulf from the 1930s to the early 2000s.

The exhibition at Hayy Jameel in Jeddah, titled “Redrawing the Boundaries: Art Movements and Collectives of the 20th Century Khaleej” opened on May 22 and runs until Oct. 15.

It features works by more than 50 artists, drawn from 20 state and private collections, and traces the evolution of modern art movements in the Arabian Gulf from the 1930s to the early 2000s.

The “Redrawing the Boundaries” show explores the emergence and development of key art movements across Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the UAE.

It examines how artists responded to dramatic shifts in their urban environments and societies while engaging with themes including changing landscapes, public and private spheres, and the rise of formal art institutions.

The exhibition includes works from the Art Jameel Collection alongside loans from notable public and private collections, including Mathaf: Arab Museum of Modern Art, Barjeel Art Foundation, the Sultanate of Oman’s Ministry of Culture, Sports and Youth Collection, and the Sharjah Art Foundation.

Featuring over 80 works, the exhibition highlights a variety of influences —from local folklore and traditions to Western modernist movements, as well as Egyptian and South Asian visual cultures.

From the calligraphic abstraction of Hurufiyya, an artistic movement exploring the potential of Arabic script, to the experimental ethos of collectives such as The Five, The Circle, and the Shatta Collective, the exhibition captures the innovative spirit that defined a generation of artists.

These artists not only shaped national art movements but also worked collaboratively, founded institutions, and envisioned new futures for art in the Gulf.

The show builds on an earlier exhibition curated by Aisha Stoby titled “Khaleej Modern: Pioneers and Collectives from the Arabian Peninsula,” which was held at New York University Abu Dhabi Art Gallery in 2022.

In an exclusive interview with Arab News, Stoby elaborated on her curatorial approach.

“They were artists who were not just foundational figures within their practices, who are without question leaders of the art movements within their own countries, but were influential through all these criteria.”

“They were establishing institutions, mentoring, and building movements. So it was above and beyond the artwork.”

The exhibition is organized into four thematic sections: “The Landscape and Public Sphere,” “Identity and Private Space,” “Abstraction and Ephemerality,” and “The Conceptual New Wave.”

Stoby said: “For me what became very pronounced is if you look at the material thematically, with it comes chronologies and with it comes geographies.”

“It seemed eventually that the most natural way that these conversations could come out themselves was by putting it into a thematic structure,” she added.

The exhibition opens with a pairing of paintings in the first section, dedicated to landscape and public space. The two works, by Abdulkarim Al-Orrayed and Abdulhalim Radwi, set the tone for a dialogue between cities, histories, and artistic legacies.

Al-Orrayed, a seminal figure in Bahraini modern art and a founding force behind numerous art institutions and ateliers, presents a large painting capturing the development of Manama — its houses, buildings, and evolving urban identity.

In contrast, Radwi’s piece captures the vibrancy of Jeddah’s historic district, Al-Balad. His depiction of movement and bustle evokes the city’s rich cultural rhythm.

Displayed side by side, these works create one of Stoby’s favorite moments in the exhibition, “A conversation between two city centers,” reflecting shared regional experiences through local lenses.

The second section, features deeply emotional and historical pieces, including two evocative works by Kuwaiti artist Thuraya Al-Baqsami.

Created during the Gulf War, one of them is “Note to the Invasion” and “The Parting” of two people who are in love and being separated. It explores themes of separation, loss, migration and resilience.

“One piece reflects the devastation of conflict, while the other speaks to the aching tenderness of lovers pulled apart by war. These artworks do more than document — they humanize a collective trauma experienced across the Gulf,” said Stoby.

In the third section, themed around abstraction and ephemerality, another wall greets visitors with three interconnected works. Among them is a piece by Abdulhalim Radwi portraying the Hajj, sourced from the Mathaf: Arab Museum of Modern Art.

“It is an act of symbolic homecoming as the artwork returns to Jeddah, the city it represents. Beside it hangs ‘Worshippers Leaving the Mosque’ by Abdulrahman Al-Soliman.

“Together, these paintings resonate as a spiritual dialogue between two pioneering artists: one rooted in Jeddah, the other in Riyadh.

“The wall extends further with contributions from Khalifa Al-Qattan and Ali Al-Mahmeed, artists who reflect on the multifaceted ways religion is experienced in daily life across the region,” said Stoby.

Finally, on the upper floor — where conceptual and new media works take center stage — a deeply symbolic film by Omani artist Anwar Sonya stands out.

Known for his landscapes and cross-border artistic relationships, Sonya here turns his lens toward memory and myth. The work began as a documentary about a prominent woman who led an art institution in Kuwait.

During filming, a coffee cup reading foretold she would live a long and dynamic life, only for her to pass away shortly thereafter.

“The project transformed into an elegiac reflection on mortality, folklore, and the unseen threads that bind lives and legacies. It became an artwork looking at her memory,” said Stoby.

It portrays “our relationship to myth, what is real, and what meaning we can hold onto,” Stoby added.

Nora Razian, Art Jameel’s deputy director and head of exhibitions and programs, said that “Redrawing the Boundaries” offers “a compelling rethink of modernism.”

Razian added that it adds “significantly to the study and understanding of a distinct aesthetic that developed across the Khaleej with a focus on the 1930s through to the early 2000s, a time of state formation, nation building and social transformation.”

She added that the exhibition “foregrounds the critical and foundational roles artists played in shaping institutions and cultivating creative communities during times of transformation.”