Federica Porello trained at P.A.R.T.S. in Brussels (2002-2006). During her studies she collaborated with the saxophonist Ilan Manouach developping a duo of dance and music improvisation, Statues. After graduating she worked with a.o. choreographer Marlene Monteiro Freitas (Larvar, 2006), visual artist Anne Kathrine Dolven (Ahead, 2007), the theater Company Tg Stan (The Tangible, 2010), choreographer Ariadna Estalella (Condició per a (x) cosos, 2011), the puppetry Company AdonK! (Commune Présence, 2012), the shadow theater Company Le Théâtre de Nuit (Le Cantique des oiseaux, 2015) with which she continues collaborating as choreographic assistent.

Since 2009 she works for the company ACME/Albert Quesada as interpreter (Solos Bach & Gould, 2010; Slow Sports, 2012; Wagner & Ligeti, 2014; Slow Sports Kids, 2015) and co-creator  (It’s time, 2017).

In 2013 she joins the catalan company Mal Pelo (La esperanza de vida de una liebre, 2013; Istanbul, 2016; Bach, 2016; On Golberg Variations/Variations, 2019).

In 2015 she participates in The Measure of Disorder, a creation directed by the belgian based choreographer Thomas Hauert in collaboration with Group LaBolsa, seven international independent artists who met in the city of Barcelona. And since then she starts dancing for the company ZOO/ Thomas Hauert in different pieces (La Valse, Mono Duos, Inaudible, How to proceed), and for the 2020’s New Creation.

Her works include the monologue Niets Verliets Iets (2006), created with the help of Mathias deKoning and Teaching Set and Reset/Reset (2010), a documentary on the teaching of one of Trisha Browns’s masterpieces Set and Reset  to students of the Belgian performing art school P.A.R.T.S. Set & Reset is a piece Trisha made in 1983 and it is still part of the curriculum of different dance schools worldwide. The documentary was produced by P.A.R.T.S and the Trisha Brown Dance Company.

In 2015 she start developing tools for improvisation with as focus the musicality of gestures, and the inclusion of objects: as partners, as a prolongation of the body, or as a landscape. Together with Xavi Moreno and Marine Broise she creates WeWood (2018), a performance born out of the research on the bridges between dance and objects manipulation.

In 2017 she receives the prize “Ciutat de Barcelona” for the interpretation of Bach, a performance by Maria Muñoz/Mal Pelo, created in 2004 and trasmissed to her in 2016; and the “Premio de la Critica de Barcelona” as best dancer, for the interpretation of Bach. In 2019 she’s nominated for the Premio Butaca of Barcelona as best female interpreter for her performance in On Golberg Vartiations/ Variations by Mal Pelo.