Mahavisual: Bridging Art and Brands
Since its establishment in 2020, Mahavisual has served as a bridge facilitating collaboration and communication between visual artists and brands. With two core business models—creative agency and artist management—Mahavisual combines visual art with innovative concepts to help brands connect deeply with their audiences. Additionally, Mahavisual incubates artists to grow and reach their maximum potential. Today, Mahavisual proudly represents Indonesian artists such as Darbotz, Popomangun, Tempa, and Yessiow.
Mahavisual could be described as a "pandemic product." Founded by three friends—Fakhruddin Arrazi, Inggrit Yusrina, and Yudha Ludiranto—the business originated from one of their experiences managing an artist. “Initially, Mas Razzi managed Stereoflow. Over time, the workload became too much, so we decided to establish Mahavisual,” said Yudha, who now oversees operations and community initiatives. Despite lacking backgrounds in art or advertising, the trio discovered a unique approach to managing artists. “We think differently, which might be our strength,” added Razzi, Mahavisual’s Managing Director. Today, Mahavisual’s work is increasingly recognized through major collaborations between artists and prominent brands, such as Monster Playground by Darbotz at Bintaro Exchange Mall 2, Stereoflow’s Bridge at Soundrenaline 2022, and Tehbotol Sosro’s Ruang Pesona Asli Indonesia in Jakarta.
In their daily operations, Mahavisual offers four main services: artist collaboration, art installations, mural production, and brand activations. These services aim to bridge the gap for clients who want to collaborate with artists but often need more strategy to do so effectively. “We’ve observed two types of artists: those who enjoy managerial aspects and those who don’t. We’re here to support the latter,” Yudha explained. With major clients like Teh Botol Sosro, Compass, and BCA, Mahavisual manages collaborations using a problem-solving approach. “Art serves as a solution to raise awareness or even boost sales. The framework we create allows brands and artists to meet halfway,” Razzi said.
One of the key challenges Mahavisual faces in its day-to-day practice is bridging the language gap between artists and brands. “The language of marketing is vastly different from that of artists,” Yudha noted. “This is where Mahavisual becomes essential,” he added. Acting as a mediator, Mahavisual translates the needs of brands into terms artists can understand, and vice versa. According to Inggrit, who handles financial matters, this process demands high sensitivity. “Artists tend to be idealistic, while clients usually have strict KPI targets. We must find common ground so both parties feel comfortable and can collaborate,” she said. Beyond this, Mahavisual also plays a role in operational support, ensuring all processes run smoothly—from legal contracts to financial reports. “We help tidy up behind-the-scenes aspects so that artists can focus on their work,” Inggrit added.
As a pioneer in visual artist management in Indonesia, Mahavisual recognizes the challenges and risks they boldly face: the lack of benchmarks for artist management in this industry. “In Indonesia, artist management primarily exists for actors or KOLs. For visual artists, there’s almost no reference,” Inggrit revealed. However, this challenge also presents an opportunity for Mahavisual to innovate. They have developed a transparent working system, ranging from written contracts and regular meetings to financial reporting. All of this ensures that the artists they manage receive maximum support.
Mahavisual was also born out of the real needs of artists. According to Yudha, building a team to support the creative process of visual artists is crucial for Mahavisual. “If we look at big international artists like KAWS or Takashi Murakami, they don’t work alone. They have a large team supporting them. That’s what we’re trying to implement here,” Yudha explained.
Mahavisual’s practices go beyond successful collaborations; they aim to build a sustainable art ecosystem in Indonesia. One of their current initiatives is a community for artists and a media platform to support this ecosystem. “We host monthly offline meetings for artists. It’s our way of building a community,” Razzi explained. Additionally, Mahavisual operates two business models to ensure sustainability. “Relying solely on artist management might make it difficult to stay afloat. That’s why we added creative agency as a business pillar,” Yudha said.
Mahavisual has a grand vision: to create a tangible impact and set new standards in Indonesia’s art industry. Mahavisual hopes to elevate Indonesian artists to the global stage through their work to date. “We want to be a bridge that not only connects art with brands but also helps Indonesian artists grow professionally,” Yudha concluded. Mahavisual has proven that art is not only meant to be appreciated but can also be a powerful tool for building connections with clients. With their unique approach, Mahavisual brings new hope for the future of Indonesia’s visual art ecosystem.
