A cluster of ordinary photocopiers give out an eery glow in the installation Mehr Licht! The photocopiers, a commonplace appliance in any office or adminstrative establishment, are standing back to back, their lids agape like open mouths. In the place of documents to be copied, neon strip lights are stuffed under the lids.

The title of the installation, Mehr Licht! (More light!) were said to be Johann Wolfgang von Goethe's last words. What was perhaps a dying man's wish to see daylight one last time has come to stand for a broader philosophical concept: a plea to see the world in an enlightened way. These  words shed new light on the installation, and as with mounir fatmi's other installations Ghosting and Modern Times, Mehr Licht! calls for knowledge and rational thought.

mounir fatmi's work is conceived to raise questions, rather than posit truths. Blind faith is eschewed. Instead, he champions the idea of understanding through investigation, shining a light on difficult ideas to allow fresh dialogue.

Outmoded forms of reproduction – video tapes, photocopiers – are a recurring motif. They are repurposed to an aesthetic end, but also retain enough of their original form to appear quaint, reminding us of the rapid pace of change in modern reproduction and the increasingly virtual way in which information is exchanged.

But however easy it might be to obtain and reproduce information in the digital age, mounir fatmi warns us to keep a critical distance: words should never be taken as dogma and images must always be questioned.

The installation is an absurd gesture. How can you capture the image of a neon light? Although it is a critical instrument in image making, light has no image. The photocopier, an everyday tool, is redundant. Like the whirring cogs and machines that produce nothing in many of mounir fatmi's installations, the photocopiers are unable to copy. Instead we are pushed to contemplate the artist's own challenge of making darkness visible.

Caroline Rossiter, February 2011.