Dadaism and the Dada movement was a manifold rebellion against the persistence of bourgeois values that dominated the artistic panorama of 1st World War European society. It began in Zurich, in the artistic Club “Cabaret Voltaire” with Tristan Tzara, Hugo Ball and Hans Arp, opponents of the war and instigators of a disorganized movement which, in its deconstructivist genesis, spread to literature, theatre, dance, film and the visual arts as a complete project free of references, clichés or meanings. Unlike the rest of the artistic avant-garde of the early 20th century, Dadaists did not propose an orderly style but a demonstration of the opposite. Through confrontation and provocation, they challenged the systematization of established values, with shocking initiatives and uncomfortable gestures, ultimately questioning the usefulness and general value of art. Hans Richter was active at the epicentre of the movement (1916-1918) and like Picabia, Duchamp, Man Ray or Léger, was a painter who used film to study movement previously deconstructed on canvas. In “Filmstudie” new aesthetic relations reorder elementary forms, matching geometry and nature, the abstract and the figurative, by interchanging squares, triangles and circles with eyes, birds and windows. Demonstrating Richter’s departure from the abstract image, “Filmstudie” distinguishes form and figure, correspondingly rhythmic and pictorial, establishing itself as an experimental laboratory of new styles, decoded, free and distinct from each other. Why reproduce what already exists? This problem, central to modernism, is a constant in Richter, who as painter, graphic designer and film-maker, between destruction and achievement, tested the foundations of the avant-garde in the cinema. (SDM)