The historic map of venues that have presented, hosted or even supported contemporary dance and performing arts in the region of ex-Yugoslavias throughout the last century would have been a telling indicator of opened and even daring curatorial decisions as those practices have never been considered by programmers as an obvious choices. Intense frequencies of dance programming in the singular cultural venue usually means increased awareness of the public being not merely material spatial fact in the forms of cultural infrastructure but rather an inclusive, ever-changing and transformative generator of human relations in an extended modes of common cultural and artistic life. With their anti-territorial and trans-national approaches to curating the venues opened to contemporary dance and performing arts in the region have in most cases always favored the public time before the public space: the notion of change and becoming more than territory of what has been already there.