From January 27 to March 15, 2026, the Mattatoio di Roma presents the exhibition "Notargiacomo in Speed," promoted by the Department of Culture of Rome Capital, Special Company Palaexpo, and Foundation Mattatoio di Roma - City of Arts, realized by Special Company Palaexpo in collaboration with Associazione Palatina. The exhibition is based on an idea by Ivana Della Portella, Vice President of Special Company Palaexpo with a delegation to the Mattatoio di Roma, and curated by Marco Tonelli.

The exhibition traces the artistic production of Gianfranco Notargiacomo (Rome, 1945) from 1971 to the present day. It is the first anthological solo exhibition of the artist in a Roman public space, with the exception of the 1971 installation titled "Le nostre divergenze" exhibited at the National Gallery of Modern and Contemporary Art in Rome in 2009.

Gianfranco Notargiacomo, a graduate in philosophy, made his debut in 1969 creating relational works ahead of his time at the Galleria Arco d'Alibert and continued his activity throughout the seventies exhibiting in the most important Roman galleries of the time, such as La Tartaruga by Plinio De Martiis and La Salita by Gian Tomaso Liverani.

During his career, he was included by art historian Flavio Caroli in the primary Magico group, which saw him as a protagonist in the eighties of the Neo-Informal trend, following in the footsteps of Emilio Vedova (his great admirer and friend), alongside other currents such as German Neo-Expressionism.

The exhibition at Pavilion 9a of the Mattatoio di Roma opens with the work "Roma assoluta" from 2003, an aerial view of the city assaulted by lightning and thunderbolts, which are the typical idiolect or distinctive sign of the artist: a true homage by Notargiacomo to the Capital.

The exhibition continues dynamically (speed is an expressive, technical, and poetic mode of the artist), retracing Notargiacomo's work through the exhibition of some examples of large, monumental, and heroic pictorial cycles: "Tempesta" and "Assalto" from 1980, "Il Caos" and "Giganti" from 1995, "Pittura Estrema" from 1999; the iconic colored clay "omìni" in the installation "Le nostre divergenze" from 1971, three specimens of large "Takéte" from 1995, a sort of futuristic matrix painting/sculpture, and works like "1945" from 1983, where sheet metal becomes the protagonist, up to the latest fluorescent paintings like "Quarantaminuti" created in 2023.

A section of the exhibition is dedicated to a series of photographic documents that testify to some significant moments in the artist's career, his participation in the Venice Art Biennale (1982, 1986, 2011), the installations at galleries La Tartaruga, Arco d'Alibert, and La Salita (seventies and eighties), and meetings with important artists that have represented fundamental stages in his formative and human path.