Why are people reading your book? To get into a good story with interesting characters doing interesting things? Or trudge through a load of 'why bother' facts. Even a first page of data-dump is too much.
Suppose tomorrow is the big battle then you (your characters) need to be focussed on that. The enemy are THE ENEMY BASTARDS with some weaknesses perhaps. That princess Karen is the step daughter of King Fred and Queen Doris is not their concern at the moment. They are not concerned with the strategic bongo-bongo fields or politics of the Upper-Lower-No-Up-A-Bit Empire. Your job as a writer is to take us to the time and place as it happens.
What is it in the first ten pages that needs any exposition? Let the characters speak or act for themselves. If you need to tell us who the goodies and baddies are then have some toasts "Loyalty to the Empire and death to the Rebels!" Or newspaper headlines or similar. If Wally is on a quest we need to know about, then start with him being torn from his placid life by immediate events, orders and impulsive feelings.
It's perfectly common for a book to start with a super-wide shot and then zoom in... more... and more... and more... Until the fateful letter is lying unopened on the doormat, in the house, in the street, in the village, in the mining district, in the valleys by the sea. Wally picks up the letter and... ACTION!
In what way will your readers be confused by missing-out on the exposition? What will they miss? When you need an explanation of, say, why the doodlebugs must be captured before the 4th May, then an explanation by the characters is to the point at the moment it becomes relevant. Added advantage of potential conflict between characters: "But I MUST borrow it tonight because..." [Bonus=not the real reason given. Expose a couple of pages later.]
It's a common thing to wish educate your readers on the world you've imagined. Actually they're interested in the story and characters. The 'science' of time-travel etc. doesn't matter but perhaps the cost or danger or social stigma does.
One final example I recall from a writer's group: Opening chapter was practically all exposition. No atmospheric description even. I suggested "What are we going to do about all this?" as the opening line then the dialogue should flow and the narrator can add in bits about charred ruins, broken glass and the stink of burned plastic if the characters can't. Whether it was aliens, stormtroopers, MAGAnuts, earthquake, escaping magic or whatever the important thing is that the people on the ground have to deal with this some way.
Aside: People relate to people. An author has to make us want to feel for or be disgusted by characters. Your characters shouldn't be names in history books but sprites inside the reader's head they can empathise with. I'm guessing that your personality leans towards this-happened-that-happened. That's fine for video games and comic books but good reads need characters with feelings and nerves and uncertain resolve and varying relationship skills. The reader has to be beside them in real-time not reading a police report. I would suggest that you put aside 100 pages of history and write a paragraph or two about the first three characters to appear in the book. (Not what they look like but what sort of person they are.) Now let them loose and throw their words and their actions onto the page. They don't have any more clue how it all ends than you do. Things will happen. You might get bored and kill-off Fred in a freak rhubarb accident while the Pogo-stick-oil salesman who is always swearing and getting into trouble appears and charms us all. I don't know. Neither do you.
Good luck. It's common to do the exposition only to have the first three chapters cut.