Violeta Mayoral studied Communication Theory at the UB (Barcelona) with a mention in Semiotics and Image Theory at the UNAM (DF, Mexico).
She combines artistic practice with theoretical research. She was a member of the experimental research group Improbable Research Group. In 2015 she founded the curatorial project Noface.
She has participated in various exhibitions, among them, the installation Down at the Emerging Festival in the Konvent.0 of Berga, the installation States altered in Daily customs, with the Mexican artist Carlos Morales, in the Twentieth meeting of powders in Mexico City or Call me, a sample of videos recorded through skype in brief periods of isolation in concentration spaces, such as a warehouse in Palma de Mallorca, a container in the forest or a wooden shed in the middle of the city.
Thanks to the Ibero-American Scholarship of Banco Santander (2014), she was able to travel to UNAM (National Autonomous University of Mexico) in which she developed a fieldwork based on images and sounds of the life of a Popocatepetl volcano town captured by a camera in streaming. From this experience was born the last of her texts, The terrorist image (2016), in which she develops ideas that were already present in her previous essays: The image in the construction of reality (2013) published in the Irreverencias magazine. Surgery and aesthetics of the Department of History of Philosophy, Aesthetics and Philosophy of Culture of the University of Barcelona or About infinity ... (2014) in the editorial Inverted Crater in Mexico.
She has recently participated in the Sorgraidades Instagramer exhibition curated by Ana Cebrian and Carmen Oviedo, in the Sala de Arte Joven de Madrid (2019).