“The Ode to Joy is an ode written in 1785 by the German poet and historian Friedrich Schiller, and known especially for its musical setting in the fourth and final movement of Ludwig van Beethoven’s Ninth Symphony. The Ode to Joy was adopted as Europe’s anthem by the Council of Europe in 1972, with an official arrangement for orchestra written by the Austrian conductor Herbert von Karajan in 2003. The EU chose Beethoven’s music for the poem as the EU anthem, without German lyrics, because of the many different official languages used within the European Union. Therefore, the EU anthem is in effect the Beethoven theme (or melody) rather than Schiller’s poem, although its connection with the ideal of human brotherhood in the text is understood. This ideal is stated in much more universal terms in Beethoven’s adaptation "all human beings become brothers" than in Schiller’s original, which states that "beggars become the brothers of princes." My special interest in this project starts with the European Union as a binary model; not only because of non-EU coexistence and inhabitation of the cultural, social and geopolitical borders of the EU, but more with its a-priori established dualism through intergovernmental organization of the EU and its constant re-mapping. EU is a trans-national society, a meeting and melting point of similar and dissimilar cultural characteristics and, more importantly, it is a generator. By constitution of EU each member state’s profile is modified/compromised/supplemented; physiognomy, language and sense of nationality are hybridized. But it is not finished; the process won't stop. The European Union has yet to grow. In such a dualistic structure, where interior and exterior are interwoven and create shared history, the most important point that I work on within this project is the progressive potential of hybridisation in terms of dramaturgy of that history (as the carrier of an identity) and the place where the performance can happen. Since history is a time-based chain of acts, I am seduced by the speculation of simultaneity in the historical acts of establishing and witnessing European identity and place.” Having finished her studies at the University of Fine Arts and the School of Art Theory in Belgrade, Katarina is currently residing in the Netherlands as a participant of the Piet Zwart Institute in Rotterdam. Her activities include: solo and group exhibitions, theatre (writer/stage designer/actress), performances (author/performer) in Serbia and Montenegro and in the Netherlands. Her work is focused on the social circumstances in which she lives and works and is, in that sense, site-sensitive. Her current field of interest is based around the notion of mobility. Within the projects her primary goal is not to illustrate the social reality of migrants or natives, nor the representation of the foreignness within the host country, but rather to examine consequences of the exchange, to point out the psychological struggle resulting from the simultaneous functioning of mutually shared desires of the guest as well as of the host, to be/keep/stay safe within their authenticity.