The designed world order and the relationship between space/art/ sculpture in the 20th century

In the historical process, space has fallen within the scope of physical sciences such as geography, geometry, and mathematics, and societal sciences like sociology, anthropology, and history. During the period when the thoughts of modernism began to mature in the 18th century, space started to be planned under the control of capitalist capital. Accordingly, for the first time in Europe, the capital of France, Paris, was systematically designed and presented as an exemplary model to the world. During this period, old traditional structures gave way to more functional buildings that would sustain the effectiveness of the nation-state and capitalist strategies. As a result, certain fractures occurred in the social structure, and the perception of time and space changed. In the early 20th century, avant-garde movements such as Dadaism, Surrealism, and Constructivism criticized this space organized by modernist strategies and the societal life lost due to the impact of war through their artistic works. During this process, the art of sculpture diverged from its known traditional understandings and took on entirely different forms. The rigid mass of sculpture transformed into portable, space-mountable forms created with everyday objects. On the other hand, throughout the 20th century, various avant-garde movements continued to bring the factors causing societal fractures into the realm of art, discussing and critiquing them. Historical avant-gardists carried societal ruptures into the domain of art, maintaining this practice through different avant-garde movements. This study focuses on the phases undergone by avant-garde movements that began with Dadaism, Constructivism, and Surrealism and continue to have effects until today, as the formal changes of sculpture during periods of societal rupture over time.