Into the stadiums of Buenos Aires, into the barrios, towards historic clubs, and above all towards the people who return week after week. I am interested in what happens long before kick-off: people carrying drums and banners into the stadium, preparing displays, selling food in the streets, meeting friends, waiting, singing, and carrying the colours of their club through the city.

As the project developed, however, it became clear that behind the original question lay a larger one:

Why do people form such a strong bond with a football club – and why do they carry that bond through their lives, even though players come and go, success fades, money plays a central role, and football is constantly changing?

That contradiction lies at the heart of “Amor Eterno”. The title therefore does not claim that anything in football is truly eternal. Amor Eterno is about the attempt to experience something as lasting even while knowing that it is constantly changing.

At the same time, the project has a personal dimension. I was a fan myself for many years, later became a sports journalist, and came to know professional football increasingly as a business. The closer I got behind the scenes, the more distant I became from the game itself. In Argentina, and through photography, I began to reconnect with the question of what had originally drawn me to football in the first place.

And so the question of the domestic league behind the 2022 world champions became a photographic project about football, belonging, memory, and the people who keep coming back.