2019: CA: THE MISSING ROCK í gallerý Espacio Union í Mexico City.
2019: KALLALIQUAK performans verk og innsetning á sýningu Nuuk Nordisk Kulturfestival.
2019: OPIN STUDIO / OPEN STUDIO sýnishorn og uppákomur í studioinu mínu
2019: SUBLIMINAL SCARCITY performans innsetning í Bravo KW Institute for Contemporary Art (Berlin)
2019: ECHOBEING performans partur af Indónesísku sustainability sýningarprogrammi með Motif Berlin
2019: PART 3: objectionable content” performans í Noregi á Bergen International Festival.
2019: CA: THE MISSING ROCK in der Gallerie Espacio Union í Mexico City
2019: KALLALIQUAK paar Tage Performance auf Nuuk Nordisk Kulturfestival auf dem historischen Fishmarkt
2019: OPIN STUDIO / OPEN STUDIO Einblick zu Stichproben und expose im meinem Studio
2019: SUBLIMINAL SCARCITY eine Performance & licht Installation Bravo KW Institute for Contemporary Art
2019: ECHOBEING Perfromance ausstellung im Motif Berlin
2019: PART 3: objectionable content” eine Performance in Norwegen am Bergen International Festival.
2019: SUBLIMINAL SCARCITY performans innsetning í Bravo at KW Institute for Contemporary Art (Berlin). The show text for this project was tapping into a feeling of loosing breath and searching for air. Expo text: "In the specific order of things this choreographic currency was never intended to play out like this, but lets say it does and it does. So, falling off the grid and participating after centuries apart we welcome “Echobeing″. In Wasteland we continue to reflect on the challenges we are facing in a new breath of field.” - Borghildur.
2019: PART 3: objectionable content” performance at the Bergen International Festival. I was invited to participate from the festival organizers of the Nordic countries an initiative called Plattform Gátt. The performance took place at the Ostre venue where I performed "objectionable content" and exhibited the video work "PART 3". These are references to social media guidelines in 2018 and 2019, questioning them and in a way a ritual in releasing the tension from the social media issues I had been encountering in 2018 with Demoncrazy.