As France was already burning, from October 6 to 8, a statue bearing the dual names “Orange Plague” and “King of Injustice,” supposedly representing President Trump, presided over the busy hall connecting the European Parliament’s two buildings in Strasbourg. Despite the nobility of the materials used—bronze covered with 23-carat gold leaf—no expert was needed to see that this monstrosity has nothing artistic about it, but instead stems from the irrational, indeed childish, hatred felt by the “artist,” the Dane Jens Galschiot, for the U.S. president—the man and his political positions.
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Galschiot is no Michelangelo, nor is he Rodin. His school would be closer to that of Botero, at least in terms of size, since the pedestal and statue together reach 8.5 feet. The “work” is a typical example of the Non-Art favoured in our post-modernist world, where lack of talent is compensated for by the desire to shock, stupendous cheek, and stupidity.
Also, by political pretension and the rewriting of the classics.
Let us dissect the thing. Galschiot has produced an ugly, obese Trump in an obscene pose, sitting on a fragile man, and naked, the “artist” explains, like the king in Andersen’s tale, because he sees Trump as a modern version of that king.
On the pedestal, the following words are engraved: “I am sitting on the back of a man. He is sinking under my burden. I will do anything to help him. Except stepping down from his back.” The inscription is signed “The King of Injustice.”
Explaining his creation, Galschiot also declares that Trump represents one of the greatest threats to the rules-based international order, democratic values, and common efforts to resolve the climate crisis.
That comment is as dismal as the object itself. First of all, it sounds like the Western Left’s narrative, with the exact same vocabulary. Then, the ignorant man believes he is being subtle but only exposes his mushy brain as he cheerfully distorts the Danish poet’s tale in a perfectly Orwellian inversion of realities.
We now know that the so-called international order was based on rules and global institutions that have all been perverted and that most of them are corrupt to the core. The “democratic values” mentioned are indeed the anti-values of the European Union and the Western Left (calls for ever more immigration, taxes, censorship, inclusion…). Finally, the “climate crisis” is a manufactured myth covering a vast industrial complex and a global redistribution mechanism.
Actually, Trump would be better compared to the child who speaks up at the end of the tale: he is the truth teller, not the king. He tells the Europeans their truths out loud, as his own speeches and those of JD Vance, and more recently Marco Rubio’s in Athens, attest.
And this is what is unbearable to Galschiot and his like.
Trump crushes no one, except perhaps the unfortunate Zelensky. But that is another matter.
It is worth noting that the unveiling of the “work” on October 7 took place to the applause of around a hundred people in attendance. The “work” was at its third stop on its world tour. It was therefore known to the unelected bureaucracy and globalist oligarchs, since it had previously been exhibited in November 2025 at their grand annual jamboree, COP30 in Brazil, under the high patronage of Lula, a convicted criminal, and then at the Munich Security Conference in February 2026 under Merz’s glassy eye.
And now it was in France, without Macron or Ursula von der Leyen uttering a word of disapproval. Nor did the MEPs, outrageously paid with our tax money for the purpose of churning out absurd regulations, say anything, with only one exception reported among the 720 members: the Irish MEP Barry Cowen, a right-winger.
Nor did the alleged stars among the EU leaders, here again with only one exception: Slovak Prime Minister Robert Fico, who criticized the exhibition as a breach of diplomacy and an insult to a foreign partner, rightly implying that it diminished the EU more than the insulted party.
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Other than that, there was no outrage in the legacy media or, alas, even in the non-aligned ones, and, remarkably, none from any of the French presidential candidates.
And this is where the scandal lies. Do these people realize that insulting a foreign head of state is insulting his country? In this case, America? They would not dare do this to Xi, Putin, or, even less, to the Ayatollahs.
If a genuine eco-hysteric, failed sculptor wants to make money from hideous creations and take advantage of suckers in the process, why not? Galschiot, incidentally, is a remarkably appropriate name for him since the first syllable of this surname means “crazy” in Danish, and the rest of it, at least for us French people, immediately brings to mind the rude word for the place where his “work” belongs (the loo).
The real scandal is the deliberate insult made via a political statement disguised as a work of art, the carelessness of an act that has the potential to create a diplomatic incident, and the fact that pseudo-dignitaries are shamelessly using the “freedom of art” to say what cowards like them dare not say directly to Trump.
Galschiot was invited to exhibit in the Strasbourg Parliament by his compatriot, far-left MEP Per Clausen (from the Red-Green Alliance). By what right?
The officials and the president herself of the Parliament obviously allowed it, although their own regulations prohibit “exhibitions considered offensive, inflammatory or likely to undermine the dignity of parliament.”
Per Clausen knows that, but he took out some insurance, boasting that he was not worried about a possible reaction from the U.S. president: “Anyone so sensitive that they cannot tolerate this exhibition would have no place on the world stage.”
Trump did ignore the insult.
But it goes further: 20,000 miniature 3D replicas were distributed to visitors and the Parliament staff.
The takeaway is that the architects of the decline of Europe on all fronts are treacherous allies who love the USA only when they can exploit it and then mock it. The cowards remember what it cost real Danish artists to publish Mohammed cartoons two decades ago. Now they pick safe targets, and while there is never any money for armaments, there is somehow always money for an ignoble exhibition.
All these wretches and the whole globalist crowd now intend to exhibit the hideous thing again next month in Turkey at their useless COP31.
The EU is not Europe. The EU, the statue, and this farce of a Parliament itself deserve nothing but contempt.
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Image created using AI.