Pia-Marie Remmers at Artforum:
FOR THE PAST FIFTY YEARS, artist Margaret Raspé has produced a sensitive, trenchant, and profoundly uncompromising body of work that has, until very recently, received only scant attention.
Born in Wrocław, Poland, Raspé grew up in southern Germany, studying art in the 1950s in Munich before settling in Berlin with her husband. Her budding practice came to a standstill as marriage and motherhood forced Raspé into the traditional role of the housewife. After a divorce in the late 1960s, she found herself with meager financial resources and began renting out her home to artists and theorists of the Fluxus and Viennese Actionism schools. Many of these figures became lasting companions and encouraged Raspé to resume her practice. Raspé’s so-called camera helmet films, which date to the early ’70s, are among her first pieces of this period. Comprising point-of-view shots as the artist prepared schnitzel, washed dishes, or gutted a chicken, they overflow with anger at both the patriarchal structures that dominated her everyday life and her own failure to resist the oppression and alienation that so thoroughly trapped her.
more here.