Founded in 2003, DegreeArt.com has been helping graduates and emerging artists sell their work and come to terms with managing the business of being an artist in 'the real world'.  Of course, the dream of the artist is to never live in the real world, unfortunately their landlords may suggest otherwise.  Film and video art is notoriously difficult to sell.  Now, a number of artists on DegreeArt.com's books are up for exhibition and on display at DegreeArt's Execution in the group show audio video.

The aim of the exhibition is to provide a point of entry into the diverse and sometimes bafflingly eccentric world of artists' moving image.  Sales for artists' film and video have been on the increase in recent years - its popularity has risen steeply, due in no small part to the number artist-filmmakers whose works have been appropriated into the cinema system.  Significantly, artists such as Clio Bernard, Steve McQueen, Gillian Wearing and Ben Rivers have shown that there can be a direct route to a mainstream audience from a grounding in the fine arts.

On display here are eight emerging artists: Alex Ressel, Sonny Sanjay Vadgama, Jessica Sarah Rinland, Rachel Maclean, Dagmar Schurrer, George Petrou, Jasmina Metwaly and Tobias Zehnter.  Work by young or emerging artists is looked upon very favourably around Because Magazine, and London is one of the great international hubs for graduating art students.  It's what keeps us fresh, and this exhibition gives us a great example as to why.

audio video is at Degree Art Execution until 29 July.

Todd Solondz makes films that are very dark and very funny. Taken impartially, it is quite incredible, considering the subject matter, that they manage to gather a wide audience. His previous film, Life During Wartime, was a sequel (of sorts) of perhaps his most famous, Happiness. The film dealt with the return to the suburban homestead of a paedophile, convicted in the first movie, and the various problems of his extended family. Drugs, adultery, suicide and (in one particularly memorable scene from Happiness) the adolescent fear of being unable to climax. Remember, these are comedies, and very funny ones at that.

Solondz's most recent film is is currently in cinemas. Dark Horse is the anti-romcom, in that it's not particularly romantic and it's not overtly funny. Abe is a loser. He lives with his parents, has no friends and considers life one big humiliation. Then, one day, he meets his equal opposite other (played to perfection by Solondz regular Selma Blair). Despite being initially confused as to why he would ask her out, they go on a date. He ill-advisedly proposes and she is pleasantly surprised by their first kiss, "That could have been much worse," she says.

Plot is a by-word, if not a by-product of the relationship between our matching misanthropes. Dark Horse has been described as a 'feelbad masterpiece', but that kind of misses the point of a Todd Solondz film. Most films are about outsiders, in one way or another, from the arthouse fare of Harmony Korine to the blockbusters of Steven Spielberg. Solondz's films are simply present the ultimate outsiders, those people that you see every day, who feel that they live on the fringes of society. The people who feel that they don't 'fit in'. In Solondz they have their champion, and in us their fans.

Dark Horse is on limited release.

You wait years for a show of work by Edvard Munch in London, and then two come along at once.  Fresh from the successes of the auction room, where an original version of his most famous work, The Scream, sold for an incredible $120 million, this new exhibition at Tate Modern attempts to redraw the boundaries of understanding around the great artist.

Called The Modern Eye, this exhibition presents Munch as one of history's most celebrated artists, but at the same time one of the least understood.  To begin this reexamination, Tate Modern present approximately sixty paintings, some little-known photographs and even a film by the artist.

Munch's work is dominated by recurrent themes and motifs.  A great exhibition from a few years back demonstrated precisely this.  Munch by Himself at the Royal Academy of Art displayed a massive series of self-portraits of the artist from youth to old age.  They were stunning in their simple and direct insights.  Munch worked during a period of time where the western world was in flux.  The twentieth century was taking shape and rebuilding itself for the future after the terrors of the Great War.  With this came modernism and a new way of looking at the world.  Munch was part of an established painterly technique and one that was embedded in nineteenth century gothic romanticism.  The Modern Eye shows Munch's interactions with modernism and the new work that was taking Europe and America by storm.  Work that was based on speed, architecture and the growing city.  There's a reason why Munch is still so well remembered and revered.  This show determines that it was this legacy of work created in the twentieth century that makes Munch still so relevant today.

The Modern Eye is at Tate Modern until 14 October.

This exhibition is organised by the Centre Pompidou, Musée national d'art moderne, Paris, in cooperation with the Munch Museum in Oslo and in association with Tate Modern, London.