羅仕東在2010年10月2日，寶藏巖作為國際藝術村的開村這一天，印製類似抗議的頭巾並發放給參觀的遊客；試著對開村節慶營造出另一種情境 — 劇場式的抗爭事件，連結著在過去的10年間對於寶藏巖聚落以及居民的存留問題，所引起的諸多社會關注與抗議行動。當觀眾綁上這印製的頭帶時，像是成為抗議的臨時演員，也如同過去抗爭記憶裡的鬼魂重新回到這個特殊場域。既非/也非地自現下看見過往的幻覺，一種不合時宜。

這次在齁空間的展覽，圍繞著位於中正路底端，與台南運河交接處的中國城大樓開展。自去年底開始陸續的幾回來到台南，以及參與<赤誠／赤城>展覽作品”飛翔的荷蘭人”中，中國城以及其謠傳的幽靈船都市傳說，延伸了一條界在想像的海洋與陸地邊界的旅程。

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在港這裡,和大多數的港口城市一樣, 有著一個或兩個關於離別的愛情傳說.
即便你知道這不會是一個城市全部的故事.但就一個個被封存在銅製的人像裡面.
安置在海的旁邊.
而銅這個材質,在二次大戰的時候,是武器的主要材料,用來包覆火藥

並不是真的分不清這裡究竟是哪一座城市，哪一個港灣

國家藝術美術館是由這塊土地的建商廢棄不用的舊接待中心直接轉換而成。
從園區內四處坐落的雕塑作品及其建設開發的理念來看，志嘉建設董事長葉榮嘉先生，希望透過其蒐藏品與美術館讓這塊土地的居民能無時無刻的被藝術環繞。

台南作為一個海港而發展的都市，它的故事和記憶與憂傷是沿著水流，順著旅行及貿易展開的。故事如何被說，從哪裡來，又如何重塑與重述。是陷在縫隙廢棄之中，還是由於過於顯明而被日常所遺忘之處，總是吸引著我。那麼現代都市中是否有著故事？都市中的故事會否是鬼魂所訴說。因為當日常被遺忘的時候就會變成鬼魂。

我喜歡說故事，也喜歡理解故事。並不只是在講故事的內容而以，也喜歡研究故事是怎麼被講的，是誰講的，從不同的角度來看一個故事。

待在日本，橫濱的這段期間，除了發現漢字語言上的相似性與日治台灣以來的生活細節以外，也能找到現下台灣的消費流行與次文化的空間源頭。這些空間被部屬在真實的生活場域之中，卻也如米些爾. 傅柯（Michel Foucault）提及的異托邦概念（Heterotopia）－ 一個介於現實與想像的社會拼貼。

　　關於藝術與生活之間的界線，以及對於這條界線的超越，可以說是一個古老的課題。對於藝術家來說，真正困擾著他們，並促使他們不斷從事某種結合藝術與生活的因素，並不是對此的信念，而是從題材到形式的嘗試與實踐。他們在這諸多實踐中試圖追問：究竟透過什麼手段來結合藝術與生活？以致於我們如果回顧歷史，謀求藝術結合生活的作品有著天差地遠的各種樣貌，從實用性極高的工藝美術到宣稱「藝術即生活」的前衛實驗，我們甚至看不出兩者有任何相似之處。

“Out of Place” was the artist’s solo exhibition in a vacant house (The village decided to covert it into future storage.) during his residency in Treasure Hill Artist Village. The content of exhibition then changed through time. 

甫於打開-當代藝術工作站結束的《年—非常快，或緩慢的改變》，是羅仕東歷經為期六個月藝術駐村結束，相隔半年後再度對這段寶藏岩經驗回應的個展。

這批發表作品全部都是關於寶藏岩的，或者精確地説，都是關於羅仕東這個個體所重疊到的寶藏岩——不管是他對駐村期間的策動、計畫的整理，還是抽取自駐村生活中的經驗碎片，或是那些不只在半年之間所累積的傳說與奇聞軼事。這些影像和物件以獨特的形態混雜著個人記憶與集體記憶的線索，在進入夜色的暗室展場裡，羅仕東試圖引領我們或者透過作品向我們顯像的狀態，是一種從夜晚開始對寶藏岩進行的凝視，所看的不是寶藏岩的物理空間，而是寶藏岩這個「事件- 所在」。

Treasure Hill is located on the site of a temple devoted to Guanyin, in Taipei. Over fifty years ago, people started building their own houses, on this land owned by the Ministry of National Defense. Originally it was settled in by war veterans, but developed into a community composed mainly of poor people, migrant workers and others who couldn’t afford the steep prices in the area. Thus the inhabitants were generally a marginalised and voiceless community.

Video work "Ghost next to the City". The script is written according to a conflagration which happened years ago in Treasure Hill. Through photo documents and interviews with residents, one can relate various images of fire to the past lifestyles of residents, whether it be fire accidents, bonfires, or fires for the purpose of producing light and warmth. These flickers of light can be seen as historical signifiers, linking together all the different people and memories belonging to this land.

On October 2nd 2010, the day the Treasure Hill Artist Village opened, Shih-Tung Lo made headbands similar to the ones usually seen during protests and gave them out to visitors. He tried to create an alternative atmosphere on the occasion of opening festival. That was a form of theatrical protest. Captured through still and video documentation, the participants turned themselves into background performers. It at the same time was and was not an illusion from either the past or present, in short, a kind of “out-of-place-ness”  to evoke a concern or just mere curiosity. What is Treasure Hill? What have made it this way? What does its past look like? And what about its future? Then how people can get involved? 

“Reading” were performances which Lo Shih-Tung contributed in Yeh Wei-Li’s “super Friday project” at Yeh’s New Day Street studio in Pushin. “super Friday project” was a collective of events, including performance art, sound art, literary creation, installation art etc., held consecutively on Friday nights. Lo contributed twice in “Reading” with his readings of “Reflects on Military Service” and “Reflects on our contemporary art”
. The content of “Reflects on Military Service” consists of verses from the diary Lo kept during his military services; “Reflects on Military Service” was inspired by his correspondences with friends on various debatable issues regarding contemporary art. Lo collaborated with fellow artist, Jo-Mei Lee, combining the physically extreme art of yoga unto each of his readings, creating a unique narrative performance.